OBSESSED: Everything We Can't Stop Talking About This Week
OBSESSED: Everything We Can't Stop Talking About This Week
OBSESSED: Everything We Can't Stop Talking About This Week
OBSESSED: Everything We Can't Stop Talking About This Week
OBSESSED: Everything We Can't Stop Talking About This Week
OBSESSED: Everything We Can't Stop Talking About This Week
OBSESSED: Everything We Can't Stop Talking About This Week
OBSESSED: Everything We Can't Stop Talking About This Week
OBSESSED: Everything We Can't Stop Talking About This Week
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over a Gchat horror film, a wacky YCBA exhibit, a so-bad-it’s-good plane movie, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">A Horror Film Short Set Entirely on Gchat\u003c/h2>\n\u003cp>https://vimeo.com/126097718\u003c/p>\n\u003cp class=\"p1\">Horror obsessives like me live in constant pursuit of the next big scare, the new idea that’s going to reinvent the genre. Obviously, this means a life of constant, crushing disappointment. I had really high hopes for \u003ca href=\"https://vimeo.com/126097718\">\u003cspan class=\"s1\">\u003ci>Green Dot\u003c/i>\u003c/span>\u003c/a>, a new \u003ca href=\"http://www.fastcocreate.com/3045543/this-chilling-5-minute-short-takes-place-entirely-in-a-g-mail-conversation-that-may-be-haunt?utm_source=facebook\">\u003cspan class=\"s1\">5-minute horror short\u003c/span>\u003c/a> that takes place (much like my own life!) entirely on Gmail’s Gchat instant messenger. Let’s get the bad news out of the way: it’s not very good. The intriguing concept (which unseen entity are you really talking to?) just becomes banal in execution, with a bad Nine Inch Nails soundtrack and a ‘twist’ you can see limping up your driveway from a mile away. BUT the good news: it’s actually an awesome idea, and I’m excited to think how another movie (note: \u003ci>not\u003c/i> \u003ca href=\"https://www.youtube.com/watch?v=Q72LWqCx3pc\">\u003cspan class=\"s1\">\u003ci>Unfriended\u003c/i>\u003c/span>\u003c/a>) could use it to create this decade’s answer to the \u003ca href=\"http://en.wikipedia.org/wiki/Ring_%28film%29\">\u003cspan class=\"s1\">‘tech-dread’ Asian horror\u003c/span>\u003c/a> of the late ’90s. You guys… \u003ci>Nightmare on AIM Street!\u003c/i>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10563173\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10563173 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg\" alt=\"sarah hotchkiss\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\">Sarah Hotchkiss\u003c/a>\u003c/i> \u003cbr> Visual Arts Editor, \u003cbr> KQED Arts\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Shana Moulton as Cynthia\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10606197\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ShanaMoulton.gif.gif\" alt=\"ShanaMoulton.gif\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>The central video in Shana Moulton’s current exhibition at Yerba Buena Center for the Arts, \u003ci>\u003ca href=\"http://ybca.org/shana-moulton\" target=\"”_blank”\" rel=\"noopener\">Picture Puzzle Pattern Door\u003c/a>\u003c/i> (on view through Aug. 2), combines Enya, a Shakira Activia Yogurt commercial, biofeedback devices and magical wiggly gloves for a hilarious sendup of women’s wellness products, the trappings of the New Age movement and pseudo-psychedelic spiritual questing. Pharmaceutical logos become jaunty dancing characters. Woodsy structures become portals to inner probiotic harmony. Throughout, Moulton plays “Cynthia,” a silent woman with worried eyes, a fantastic bowl cut and a penchant for muumuus. Parts of Cynthia’s world may be familiar, but the sheer oversaturation of wacky kitsch, combined with Moulton’s constantly straight face makes that world a total and bizarre pleasure to visit.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">\u003cem>Non-Stop\u003c/em>\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=jiHDJ19A3dk\u003c/p>\n\u003cp>I was prepared to write about \u003ca href=\"http://ww2.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\">Chimamanda Ngozi Adichie\u003c/a>’s \u003cem>Americanah\u003c/em> for this week’s column, but then I found out that Lupita Nyong’o is going to star in the film adaptation, which obviously led me to her IMDb page. There wasn’t much non-\u003cem>12 Years A Slave\u003c/em> work there, other than \u003cem>Non-Stop\u003c/em>, a movie starring Liam Neeson, Julianne Moore, and \u003cem>Downton\u003c/em>’s Mary Crawley. What? When did this happen? 2014, apparently.\u003c/p>\n\u003cp>Neeson plays an alcoholic air marshall who hates flying. \u003cem>Okay, I’m in\u003c/em>, you’re probably thinking. But there’s more! Some crazy person threatens to kill someone on the flight every 20 minutes. \u003ca href=\"http://media.giphy.com/media/ftXvsSyRzKXXG/giphy.gif\">Now we’re talking\u003c/a>. The premise is absurd, but the movie easily enters so-bad-it’s-good territory. Neeson’s character loses his damn mind! There’s mile-high club action and a cramped murder in a plane bathroom! And Mary Crawley has a job (what would the Countess think of her being a flight attendant?)! What more could you want from a second-rate flick about planes? Well, yeah, snakes, but you know what I mean.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over a Gchat horror film, a wacky YCBA exhibit, a so-bad-it’s-good plane movie, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">A Horror Film Short Set Entirely on Gchat\u003c/h2>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">Horror obsessives like me live in constant pursuit of the next big scare, the new idea that’s going to reinvent the genre. Obviously, this means a life of constant, crushing disappointment. I had really high hopes for \u003ca href=\"https://vimeo.com/126097718\">\u003cspan class=\"s1\">\u003ci>Green Dot\u003c/i>\u003c/span>\u003c/a>, a new \u003ca href=\"http://www.fastcocreate.com/3045543/this-chilling-5-minute-short-takes-place-entirely-in-a-g-mail-conversation-that-may-be-haunt?utm_source=facebook\">\u003cspan class=\"s1\">5-minute horror short\u003c/span>\u003c/a> that takes place (much like my own life!) entirely on Gmail’s Gchat instant messenger. Let’s get the bad news out of the way: it’s not very good. The intriguing concept (which unseen entity are you really talking to?) just becomes banal in execution, with a bad Nine Inch Nails soundtrack and a ‘twist’ you can see limping up your driveway from a mile away. BUT the good news: it’s actually an awesome idea, and I’m excited to think how another movie (note: \u003ci>not\u003c/i> \u003ca href=\"https://www.youtube.com/watch?v=Q72LWqCx3pc\">\u003cspan class=\"s1\">\u003ci>Unfriended\u003c/i>\u003c/span>\u003c/a>) could use it to create this decade’s answer to the \u003ca href=\"http://en.wikipedia.org/wiki/Ring_%28film%29\">\u003cspan class=\"s1\">‘tech-dread’ Asian horror\u003c/span>\u003c/a> of the late ’90s. You guys… \u003ci>Nightmare on AIM Street!\u003c/i>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10563173\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10563173 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg\" alt=\"sarah hotchkiss\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\">Sarah Hotchkiss\u003c/a>\u003c/i> \u003cbr> Visual Arts Editor, \u003cbr> KQED Arts\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Shana Moulton as Cynthia\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10606197\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/ShanaMoulton.gif.gif\" alt=\"ShanaMoulton.gif\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>The central video in Shana Moulton’s current exhibition at Yerba Buena Center for the Arts, \u003ci>\u003ca href=\"http://ybca.org/shana-moulton\" target=\"”_blank”\" rel=\"noopener\">Picture Puzzle Pattern Door\u003c/a>\u003c/i> (on view through Aug. 2), combines Enya, a Shakira Activia Yogurt commercial, biofeedback devices and magical wiggly gloves for a hilarious sendup of women’s wellness products, the trappings of the New Age movement and pseudo-psychedelic spiritual questing. Pharmaceutical logos become jaunty dancing characters. Woodsy structures become portals to inner probiotic harmony. Throughout, Moulton plays “Cynthia,” a silent woman with worried eyes, a fantastic bowl cut and a penchant for muumuus. Parts of Cynthia’s world may be familiar, but the sheer oversaturation of wacky kitsch, combined with Moulton’s constantly straight face makes that world a total and bizarre pleasure to visit.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">\u003cem>Non-Stop\u003c/em>\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jiHDJ19A3dk'\n title='//www.youtube.com/embed/jiHDJ19A3dk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I was prepared to write about \u003ca href=\"http://ww2.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\">Chimamanda Ngozi Adichie\u003c/a>’s \u003cem>Americanah\u003c/em> for this week’s column, but then I found out that Lupita Nyong’o is going to star in the film adaptation, which obviously led me to her IMDb page. There wasn’t much non-\u003cem>12 Years A Slave\u003c/em> work there, other than \u003cem>Non-Stop\u003c/em>, a movie starring Liam Neeson, Julianne Moore, and \u003cem>Downton\u003c/em>’s Mary Crawley. What? When did this happen? 2014, apparently.\u003c/p>\n\u003cp>Neeson plays an alcoholic air marshall who hates flying. \u003cem>Okay, I’m in\u003c/em>, you’re probably thinking. But there’s more! Some crazy person threatens to kill someone on the flight every 20 minutes. \u003ca href=\"http://media.giphy.com/media/ftXvsSyRzKXXG/giphy.gif\">Now we’re talking\u003c/a>. The premise is absurd, but the movie easily enters so-bad-it’s-good territory. Neeson’s character loses his damn mind! There’s mile-high club action and a cramped murder in a plane bathroom! And Mary Crawley has a job (what would the Countess think of her being a flight attendant?)! What more could you want from a second-rate flick about planes? Well, yeah, snakes, but you know what I mean.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over creepily accurate cartoons on the My Idol app, a Taylor Swift/Lana del Rey mashup, the credits from \u003cem>The Jinx\u003c/em>, and more!\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The ‘Duang’ Scene in the My Idol App\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=fYFqsG8RmJM\u003c/p>\n\u003cp>If you’ve been on the internet in the last 48 hours, chances are you’ve seen people posting eerily accurate cartoon versions of themselves. The creepiness comes courtesy of \u003ca href=\"https://itunes.apple.com/us/app/xiao-ou-wo-de3d-meng-ou/id867964769?mt=8\" target=\"_blank\" rel=\"noopener\">My Idol\u003c/a>, an app from China that blows Bitstrips and other cartoon-yourself services out of the water. (If you’re interested, \u003ca href=\"http://www.thefader.com/2015/04/22/make-a-deranged-doppleganger-using-my-idol\" target=\"_blank\" rel=\"noopener\">here’s a basic primer\u003c/a>, and the app comes with \u003ca href=\"http://en.faceii.com/g.html\" target=\"_blank\" rel=\"noopener\">English instructions\u003c/a> too.) Though you can make your doppelganger \u003ca href=\"https://www.youtube.com/watch?v=Hm6VRn2emFo\" target=\"_blank\" rel=\"noopener\">sing “Let it Go” from \u003cem>Frozen\u003c/em>\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=oyOwQKXPBLU\" target=\"_blank\" rel=\"noopener\">do a pole dance\u003c/a>, my favorite scene is the utterly bizarre “Duang” song. Based on a nonsense word \u003ca href=\"http://www.dailymail.co.uk/news/peoplesdaily/article-2980500/Duang-Chinese-poke-fun-Jackie-Chan-nonsense-word.html\" target=\"_blank\" rel=\"noopener\">invented by Jackie Chan\u003c/a>, “Duang” has your character alternately preening and acting tough, all while badly rapping in Mandarin over what sounds like an instrumental to Marc Anthony’s “\u003ca href=\"https://www.youtube.com/watch?v=MY4YJxn-9Og\" target=\"_blank\" rel=\"noopener\">You Sang to Me\u003c/a>.” You just have to see it, really.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Taylor Swift & Lana Del Rey: A Match Made in Music Video Heaven\u003c/h2>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://thrilled.tumblr.com/post/111332812207/taylor-swifts-style-video-set-to-summertime\">taylor swift’s style video set to…\u003c/a>\u003c/div>\n\u003cp>Maybe you’ve already seen \u003ca href=\"http://ww2.kqed.org/pop/2015/04/21/taylor-swift-set-to-lana-del-rey-is-the-new-wizard-of-oz-set-to-pink-floyd/\">this mashup on KQED Pop\u003c/a> or on \u003cem>\u003ca href=\"https://www.billboard.com/articles/columns/pop-shop/6538896/taylor-swift-lana-del-rey-style-video-summertime-sadness\">Billboard\u003c/a>\u003c/em> or \u003ca href=\"http://www.nylon.com/articles/taylor-swift-lana-del-rey-style-summertime-sadness-video\">\u003cem>Nylon\u003c/em>\u003c/a>. If not, here’s the deal: Taylor Swift’s music video for her upbeat song “Style” was anything but, more Lana del Rey moodiness than happy-go-lucky. \u003ca href=\"https://vimeo.com/88007652\">I couldn’t help but wonder\u003c/a>: What would happen if I put “Summertime Sadness” over the music video? The result: two works of art that coincidentally play off each other really well, à la Pink Floyd’s \u003cem>The Dark Side of the Moon\u003c/em> and \u003cem>Wizard of Oz\u003c/em>. I can’t stop watching it, not because I made it, but because it makes me feel things. I also can’t stop cracking up while reading \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/04/tumblr-comments-taylor-swift.jpg\">the hilarious comments on Tumblr\u003c/a>, like when one user said “God has spoken” and another replied “This transcended God tho.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">\u003cem>The Jinx\u003c/em>‘s Opening Credits\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=-VTa8-M1DEI\u003c/p>\n\u003cp class=\"p1\">Seriously, when did television title sequences get so good? TV is now stuffed with the kind of imaginative openings that movies have used for decades, and the \u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=-VTa8-M1DEI\">strikingly creepy \u003c/a>opening credits\u003c/span> of HBO’s true-crime saga \u003ci>The Jinx\u003c/i> are some of the best, not least because of the music. On first listen, I thought this song was a bizarre cover of Bruce Springsteen’s “\u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=nU5MyNuBdhg\">State Trooper\u003c/a>” \u003c/span>because of the virtually identical \u003ci>HOWL! \u003c/i>that \u003ca href=\"https://youtu.be/-VTa8-M1DEI?t=41s\">\u003cspan class=\"s1\">suddenly bursts forth\u003c/span>\u003c/a> amid the falsetto and grungy guitars. But no, it’s “\u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=K4Qp1TEKswQ\">Fresh Blood\u003c/a>’\u003c/span> by Eels, a band I literally haven’t thought about since the days of their hit song “\u003ca href=\"https://www.youtube.com/watch?v=qNeqS8DE5i8\">\u003cspan class=\"s1\">Beautiful Freak\u003c/span>\u003c/a>.” As a title theme, it’s as instantly iconic as any of \u003ci>The Wire\u003c/i>’s \u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=jR9_wbTrInI\">multiple versions of “Way Down in the Hole\u003c/a>’\u003c/span> — and like Pavlov’s other, more crime-obsessed dog, I start salivating for my next dose of televisual intrigue whenever I hear it. Howl, indeed!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Heartbreaker (Remix)”: A Feminist Anthem from the ’90s?\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=PyjuUu_XDZ8\u003c/p>\n\u003cp>My new favorite radio station (besides KQED, obvi) is 102.1, which specializes in hip-hop throwbacks. They recently played a DJ set in which Snoop Dogg’s “It Ain’t No Fun” and Mariah Carey’s “Heartbreaker (Remix)” were mashed up, and I realized that Mariah’s ’99 hit was a feminist response to the highly offensive Snoop track from ’93. It makes me cringe knowing I screamed Snoop’s derogatory lyrics while riding around in my friends’ cars in high school.\u003c/p>\n\u003cp>A few years after Snoop released his song, Mariah teamed up with Da Brat and Missy Elliot to not only sample that Snoop song, but revise the original lyrics as a counterpoint to the misogyny of Snoop and his collaborators. Snoop appears in the video, so the call-and-response game wasn’t exactly contentious. Da Brat and Snoop dress up like a bride and groom, and he hangs his head while she takes him down a few pegs, spitting her appropriated lyrics in his face, providing a female perspective on the demeaning story told in his original hit.\u003c/p>\n\u003cp>Throughout the video, Mariah is writhing around in a metallic bikini per usual, and she even washes Snoop’s car while wearing booty shorts, so I’m not saying this was a breakthrough for gender equality or turning the tables towards matriarchy, but I enjoyed the reminder of how Mariah, Da Brat and Missy Elliot officially put Snoop and his collaborators on notice, way back in the last century.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over creepily accurate cartoons on the My Idol app, a Taylor Swift/Lana del Rey mashup, the credits from \u003cem>The Jinx\u003c/em>, and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over creepily accurate cartoons on the My Idol app, a Taylor Swift/Lana del Rey mashup, the credits from \u003cem>The Jinx\u003c/em>, and more!\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The ‘Duang’ Scene in the My Idol App\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fYFqsG8RmJM'\n title='//www.youtube.com/embed/fYFqsG8RmJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you’ve been on the internet in the last 48 hours, chances are you’ve seen people posting eerily accurate cartoon versions of themselves. The creepiness comes courtesy of \u003ca href=\"https://itunes.apple.com/us/app/xiao-ou-wo-de3d-meng-ou/id867964769?mt=8\" target=\"_blank\" rel=\"noopener\">My Idol\u003c/a>, an app from China that blows Bitstrips and other cartoon-yourself services out of the water. (If you’re interested, \u003ca href=\"http://www.thefader.com/2015/04/22/make-a-deranged-doppleganger-using-my-idol\" target=\"_blank\" rel=\"noopener\">here’s a basic primer\u003c/a>, and the app comes with \u003ca href=\"http://en.faceii.com/g.html\" target=\"_blank\" rel=\"noopener\">English instructions\u003c/a> too.) Though you can make your doppelganger \u003ca href=\"https://www.youtube.com/watch?v=Hm6VRn2emFo\" target=\"_blank\" rel=\"noopener\">sing “Let it Go” from \u003cem>Frozen\u003c/em>\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=oyOwQKXPBLU\" target=\"_blank\" rel=\"noopener\">do a pole dance\u003c/a>, my favorite scene is the utterly bizarre “Duang” song. Based on a nonsense word \u003ca href=\"http://www.dailymail.co.uk/news/peoplesdaily/article-2980500/Duang-Chinese-poke-fun-Jackie-Chan-nonsense-word.html\" target=\"_blank\" rel=\"noopener\">invented by Jackie Chan\u003c/a>, “Duang” has your character alternately preening and acting tough, all while badly rapping in Mandarin over what sounds like an instrumental to Marc Anthony’s “\u003ca href=\"https://www.youtube.com/watch?v=MY4YJxn-9Og\" target=\"_blank\" rel=\"noopener\">You Sang to Me\u003c/a>.” You just have to see it, really.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Taylor Swift & Lana Del Rey: A Match Made in Music Video Heaven\u003c/h2>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://thrilled.tumblr.com/post/111332812207/taylor-swifts-style-video-set-to-summertime\">taylor swift’s style video set to…\u003c/a>\u003c/div>\n\u003cp>Maybe you’ve already seen \u003ca href=\"http://ww2.kqed.org/pop/2015/04/21/taylor-swift-set-to-lana-del-rey-is-the-new-wizard-of-oz-set-to-pink-floyd/\">this mashup on KQED Pop\u003c/a> or on \u003cem>\u003ca href=\"https://www.billboard.com/articles/columns/pop-shop/6538896/taylor-swift-lana-del-rey-style-video-summertime-sadness\">Billboard\u003c/a>\u003c/em> or \u003ca href=\"http://www.nylon.com/articles/taylor-swift-lana-del-rey-style-summertime-sadness-video\">\u003cem>Nylon\u003c/em>\u003c/a>. If not, here’s the deal: Taylor Swift’s music video for her upbeat song “Style” was anything but, more Lana del Rey moodiness than happy-go-lucky. \u003ca href=\"https://vimeo.com/88007652\">I couldn’t help but wonder\u003c/a>: What would happen if I put “Summertime Sadness” over the music video? The result: two works of art that coincidentally play off each other really well, à la Pink Floyd’s \u003cem>The Dark Side of the Moon\u003c/em> and \u003cem>Wizard of Oz\u003c/em>. I can’t stop watching it, not because I made it, but because it makes me feel things. I also can’t stop cracking up while reading \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/04/tumblr-comments-taylor-swift.jpg\">the hilarious comments on Tumblr\u003c/a>, like when one user said “God has spoken” and another replied “This transcended God tho.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">\u003cem>The Jinx\u003c/em>‘s Opening Credits\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-VTa8-M1DEI'\n title='//www.youtube.com/embed/-VTa8-M1DEI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">Seriously, when did television title sequences get so good? TV is now stuffed with the kind of imaginative openings that movies have used for decades, and the \u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=-VTa8-M1DEI\">strikingly creepy \u003c/a>opening credits\u003c/span> of HBO’s true-crime saga \u003ci>The Jinx\u003c/i> are some of the best, not least because of the music. On first listen, I thought this song was a bizarre cover of Bruce Springsteen’s “\u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=nU5MyNuBdhg\">State Trooper\u003c/a>” \u003c/span>because of the virtually identical \u003ci>HOWL! \u003c/i>that \u003ca href=\"https://youtu.be/-VTa8-M1DEI?t=41s\">\u003cspan class=\"s1\">suddenly bursts forth\u003c/span>\u003c/a> amid the falsetto and grungy guitars. But no, it’s “\u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=K4Qp1TEKswQ\">Fresh Blood\u003c/a>’\u003c/span> by Eels, a band I literally haven’t thought about since the days of their hit song “\u003ca href=\"https://www.youtube.com/watch?v=qNeqS8DE5i8\">\u003cspan class=\"s1\">Beautiful Freak\u003c/span>\u003c/a>.” As a title theme, it’s as instantly iconic as any of \u003ci>The Wire\u003c/i>’s \u003cspan class=\"s1\">\u003ca href=\"https://www.youtube.com/watch?v=jR9_wbTrInI\">multiple versions of “Way Down in the Hole\u003c/a>’\u003c/span> — and like Pavlov’s other, more crime-obsessed dog, I start salivating for my next dose of televisual intrigue whenever I hear it. Howl, indeed!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“Heartbreaker (Remix)”: A Feminist Anthem from the ’90s?\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PyjuUu_XDZ8'\n title='//www.youtube.com/embed/PyjuUu_XDZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>My new favorite radio station (besides KQED, obvi) is 102.1, which specializes in hip-hop throwbacks. They recently played a DJ set in which Snoop Dogg’s “It Ain’t No Fun” and Mariah Carey’s “Heartbreaker (Remix)” were mashed up, and I realized that Mariah’s ’99 hit was a feminist response to the highly offensive Snoop track from ’93. It makes me cringe knowing I screamed Snoop’s derogatory lyrics while riding around in my friends’ cars in high school.\u003c/p>\n\u003cp>A few years after Snoop released his song, Mariah teamed up with Da Brat and Missy Elliot to not only sample that Snoop song, but revise the original lyrics as a counterpoint to the misogyny of Snoop and his collaborators. Snoop appears in the video, so the call-and-response game wasn’t exactly contentious. Da Brat and Snoop dress up like a bride and groom, and he hangs his head while she takes him down a few pegs, spitting her appropriated lyrics in his face, providing a female perspective on the demeaning story told in his original hit.\u003c/p>\n\u003cp>Throughout the video, Mariah is writhing around in a metallic bikini per usual, and she even washes Snoop’s car while wearing booty shorts, so I’m not saying this was a breakthrough for gender equality or turning the tables towards matriarchy, but I enjoyed the reminder of how Mariah, Da Brat and Missy Elliot officially put Snoop and his collaborators on notice, way back in the last century.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over a Sizzler commercial from the ’90s, an outer-space quilt from the 1800s, the terrible \u003cem>True Detective\u003c/em> trailer, and more!\u003c/p>\n\u003cfigure id=\"attachment_10563172\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10563172 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/emma-silvers.jpg\" alt=\"emma silvers\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/esilvers/\">Emma Silvers\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Sizzler Commercial from the ’90s\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=E3YGtQ40Qvs\u003c/p>\n\u003cp>This Sizzler commercial from 1991, which recently resurfaced thanks to the magic of the internets, is truly a triumph of advertising. For one, it’s four and a half minutes long. Was that a thing people used to have the attention span for? Second, between the smooth sax music and the soft-focus shots of what appear to be semi-sedated pod people enjoying patriotic activities like jogging, playing with dogs, riding carousels and dating sailors, this thing reads more like a political campaign ad or a Cialis commercial than a spot for a surf-and-turf/salad bar buffet. I’d also like to shake the hand of whoever wrote this song, windchimes and all. “Choices and selections / choices of directions / choices that can add a little freedom in your life!” Hillary, are you paying attention? Democracy is the best.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10563173\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10563173 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg\" alt=\"sarah hotchkiss\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\">Sarah Hotchkiss\u003c/a>\u003c/i> \u003cbr> Visual Arts Editor, \u003cbr> KQED Arts\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Leah Rosenberg’s Chromophilia\u003c/h2>\n\u003cfigure id=\"attachment_10565205\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10565205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/yellow-600x600.jpeg\" alt=\"Photo: Leah Rosenberg\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-600x600.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-400x400.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-1180x1180.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-320x320.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-75x75.jpeg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow.jpeg 1936w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.leahrosenberg.com/\">Leah Rosenberg\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://irvingstreetprojects.org/\" target=\"_blank\" rel=\"noopener\">Irving Street Projects\u003c/a>, a new storefront residency in the Outer Sunset run by artist Kelly Inouye, is currently occupied by \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>, an artist and pastry chef with “an affinity for color, stripes, paint and the arrangement of things.” Rosenberg’s project, \u003ci>Everyday, a color\u003c/i>, is just that. Every day for her three months in residence, she selects a color inspired by the neighborhood and layers that color over two walls, a square of floor, a table, vase, chair and notebook. The effect is a delightful and continually-changing monotone tableau. As the layers build, the paint takes on physical substance. Already, thick paint icicles dangle from the table’s edges. So far, color choices have included “ocean mist,” “purple crab,” “aqua VW,” “Converse shoe,” and “mint graffiti.” You can stop by most weekdays, 12-5pm, and find Rosenberg in the space through May 30. Lend a hand with a roller, talk color with a undeniable expert and consider repainting your own space the rosy hue of “happy hour.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Space Quilt from the 1800s\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" width=\"632\" height=\"525\" class=\"aligncenter wp-image-10565334\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM.png\" alt=\"Screen shot 2015-04-16 at 11.30.50 AM\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM.png 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM-400x332.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM-320x266.png 320w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003c/p>\n\u003cp>Since I can remember, I’ve always been obsessed with space. Some nights, I stop in the middle of the sidewalk \u003ca href=\"http://33.media.tumblr.com/49656af8b8f952fc6d43f72f3ba899f4/tumblr_mzl6ikrL7q1qb4m0io1_250.gif\">to gawk at the moon\u003c/a>. Once, a man asked if I was all right. \u003cem>Yes, I am, and would you look at that! It’s just crazy how it controls our oceans and the water inside of us too! \u003c/em>He didn’t think it was that crazy. But there are other outer-space fanatics who get it, like Ellen Harding Baker of Cedar County, Iowa. She made \u003ca href=\"http://historyexplorer.si.edu/resource/?key=5146&lp=artifacts\">this killer quilt\u003c/a> way back in 1876 and used it as a visual aid in lectures she gave on astronomy. Over a century later, her out-of-this-world handiwork is \u003ca href=\"http://americanhistory.si.edu/collections/search/object/nmah_556183\" target=\"_blank\" rel=\"noopener\">in a collection at the Smithsonian\u003c/a>. And while we’re on the topic of planets and what not, you should read \u003ca href=\"http://www.newyorker.com/magazine/2015/04/20/moving-to-mars\">this piece in the \u003cem>New Yorker\u003c/em>\u003c/a> that likens Mars exploration to 19th century polar expeditions. </geek out>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The MTV Movie Awards Set\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10563163\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-800x534.jpeg\" alt=\"JuxtapozDabsMyla05\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-320x214.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>All I know about last Sunday’s MTV Movie Awards is that some bold, happy artwork was framing the whole situation. The entire stage and even the golden popcorn award statues were the work of prolific Australian artist duo Dabs Myla, who are headquartered in Los Angeles. From gallery shows to designs for big brands, they work nonstop. Having met them, I can say they’re the closest you’ll ever get to meeting cartoon characters in real life, and their art reflects their personalities perfectly. I’ve seen them paint 100-foot walls and build special immersive installations at \u003ca href=\"http://ww2.kqed.org/arts/2013/08/27/dabsmyla_san_francisco_is_for_lovers/\">local venues\u003c/a> like it was an easy day’s work. It was really cool to see their imaginative world of characters on this mega-massive scale. As far as I’m concerned, Dabs and Myla were the biggest celebrities of that awards show and MTV is relevant again. See more photos and an interview with the artists over at \u003ca href=\"http://www.juxtapoz.com/current/in-the-magazine-dabs-myla\">Juxtapoz\u003c/a>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Crazy Jewish Mom\u003c/h2>\n\u003cfigure id=\"attachment_10563037\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10563037\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n.jpg\" alt=\"Photo: Crazy Jewish Mom\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.crazyjewishmom.com/\">Crazy Jewish Mom\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">I’m the parent of two children and, though they’re far from being oversensitive teenagers (my daughter is 3 and my son is 6 weeks), I’m already preparing myself for what will inevitably be my shunning as they grow older. One of the benefits of being a parent is the right to harass your children, driving them nuts in harmless ways, just like my parents did to me. If your kids are teens and they’re not telling you to “like totally quit it” on a regular basis, you’re doing something wrong.\u003c/p>\n\u003cp>This is why I love \u003ca href=\"http://www.crazyjewishmom.com/\">Crazy Jewish Mom\u003c/a>. Beyond the great jokes with Jewish themes—“SPAWN SERIOUSLY Easy on the Wine… Save some for Elijah”—what’s being documented is a mother-daughter relationship that anyone can appreciate. The references to her daughter as “spawn,” the boyfriend-hunting even when her girl isn’t single, the constant reminders that she needs to do kegels… It would be maddening for anyone, but it’s also the sign of a loving (and hilarious) relationship. I’m looking forward to my own version of that. Until then, I’ll soak up the fact that my daughter runs to hug me every day I come home from work.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The \u003cem>True Detective\u003c/em> Season 2 Trailer\u003c/h2>\n\u003cp>https://youtu.be/4OfU7CGY5DQ\u003c/p>\n\u003cp class=\"p1\">Like many humans, I fell headlong in love with \u003ci>True Detective\u003c/i> last year—its bayou horror, its \u003ca href=\"https://www.youtube.com/watch?v=v3WBsOsdzis\">\u003cspan class=\"s1\">stonking soundtrack\u003c/span>\u003c/a> and the opportunity it provided me to crow over the fact that I predicted what is now officially termed \u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-mcconaissance\">\u003cspan class=\"s1\">the McConnaissance\u003c/span>\u003c/a>™ back in 2011 after watching \u003ca href=\"http://www.imdb.com/title/tt1189340/\">\u003cspan class=\"s1\">\u003ci>The Lincoln Lawyer\u003c/i>\u003c/span>\u003c/a>. In the interim, I developed the sneaking suspicion that \u003ci>True Detective \u003c/i>wasn’t actually as good as I thought it was and adjusted my Season 2 expectations accordingly. But in my wildest dreams, I never thought it could look \u003ci>this \u003c/i>bad.\u003c/p>\n\u003cp class=\"p1\">Seriously,\u003ci> \u003c/i>\u003ca href=\"https://youtu.be/4OfU7CGY5DQ\">\u003cspan class=\"s1\">what is this trailer\u003c/span>\u003c/a>? Why is this awful ballad playing? What acting style is Vince Vaughn quite literally straining for? Why is Colin Farrell a) sporting a mustache the size of a bobcat and b) \u003ci>weeping in every scene\u003c/i>? I haven’t even mentioned the total absence of dialogue that suggests the makers of this trailer somehow couldn’t get the rights to their own show. The whole mess makes me think that Season 2 will just embody the worst excesses of the first \u003ci>True Detective,\u003c/i> so here’s looking forward to endless conversations in dark bars, detectives with imploding marriages furrowing their brows over archive newspaper cuttings in basements, and at \u003ci>least \u003c/i>one visit to a strip club to track down a reluctant witness. And you know what? I WILL WATCH EVERY EPISODE.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over a Sizzler commercial from the '90s, a space quilt from the 1800s, the terrible \u003cem>True Detective\u003c/em> trailer and more!",
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"description": "This week, the KQED Arts gang is freaking out over a Sizzler commercial from the '90s, a space quilt from the 1800s, the terrible True Detective trailer and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over a Sizzler commercial from the ’90s, an outer-space quilt from the 1800s, the terrible \u003cem>True Detective\u003c/em> trailer, and more!\u003c/p>\n\u003cfigure id=\"attachment_10563172\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10563172 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/emma-silvers.jpg\" alt=\"emma silvers\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/emma-silvers-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/esilvers/\">Emma Silvers\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Sizzler Commercial from the ’90s\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E3YGtQ40Qvs'\n title='//www.youtube.com/embed/E3YGtQ40Qvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This Sizzler commercial from 1991, which recently resurfaced thanks to the magic of the internets, is truly a triumph of advertising. For one, it’s four and a half minutes long. Was that a thing people used to have the attention span for? Second, between the smooth sax music and the soft-focus shots of what appear to be semi-sedated pod people enjoying patriotic activities like jogging, playing with dogs, riding carousels and dating sailors, this thing reads more like a political campaign ad or a Cialis commercial than a spot for a surf-and-turf/salad bar buffet. I’d also like to shake the hand of whoever wrote this song, windchimes and all. “Choices and selections / choices of directions / choices that can add a little freedom in your life!” Hillary, are you paying attention? Democracy is the best.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10563173\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10563173 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg\" alt=\"sarah hotchkiss\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/sarah-hotchkiss-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\">Sarah Hotchkiss\u003c/a>\u003c/i> \u003cbr> Visual Arts Editor, \u003cbr> KQED Arts\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Leah Rosenberg’s Chromophilia\u003c/h2>\n\u003cfigure id=\"attachment_10565205\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10565205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/yellow-600x600.jpeg\" alt=\"Photo: Leah Rosenberg\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-600x600.jpeg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-400x400.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-1180x1180.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-320x320.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow-75x75.jpeg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/yellow.jpeg 1936w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.leahrosenberg.com/\">Leah Rosenberg\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://irvingstreetprojects.org/\" target=\"_blank\" rel=\"noopener\">Irving Street Projects\u003c/a>, a new storefront residency in the Outer Sunset run by artist Kelly Inouye, is currently occupied by \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener\">Leah Rosenberg\u003c/a>, an artist and pastry chef with “an affinity for color, stripes, paint and the arrangement of things.” Rosenberg’s project, \u003ci>Everyday, a color\u003c/i>, is just that. Every day for her three months in residence, she selects a color inspired by the neighborhood and layers that color over two walls, a square of floor, a table, vase, chair and notebook. The effect is a delightful and continually-changing monotone tableau. As the layers build, the paint takes on physical substance. Already, thick paint icicles dangle from the table’s edges. So far, color choices have included “ocean mist,” “purple crab,” “aqua VW,” “Converse shoe,” and “mint graffiti.” You can stop by most weekdays, 12-5pm, and find Rosenberg in the space through May 30. Lend a hand with a roller, talk color with a undeniable expert and consider repainting your own space the rosy hue of “happy hour.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Space Quilt from the 1800s\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" width=\"632\" height=\"525\" class=\"aligncenter wp-image-10565334\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM.png\" alt=\"Screen shot 2015-04-16 at 11.30.50 AM\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM.png 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM-400x332.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Screen-shot-2015-04-16-at-11.30.50-AM-320x266.png 320w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003c/p>\n\u003cp>Since I can remember, I’ve always been obsessed with space. Some nights, I stop in the middle of the sidewalk \u003ca href=\"http://33.media.tumblr.com/49656af8b8f952fc6d43f72f3ba899f4/tumblr_mzl6ikrL7q1qb4m0io1_250.gif\">to gawk at the moon\u003c/a>. Once, a man asked if I was all right. \u003cem>Yes, I am, and would you look at that! It’s just crazy how it controls our oceans and the water inside of us too! \u003c/em>He didn’t think it was that crazy. But there are other outer-space fanatics who get it, like Ellen Harding Baker of Cedar County, Iowa. She made \u003ca href=\"http://historyexplorer.si.edu/resource/?key=5146&lp=artifacts\">this killer quilt\u003c/a> way back in 1876 and used it as a visual aid in lectures she gave on astronomy. Over a century later, her out-of-this-world handiwork is \u003ca href=\"http://americanhistory.si.edu/collections/search/object/nmah_556183\" target=\"_blank\" rel=\"noopener\">in a collection at the Smithsonian\u003c/a>. And while we’re on the topic of planets and what not, you should read \u003ca href=\"http://www.newyorker.com/magazine/2015/04/20/moving-to-mars\">this piece in the \u003cem>New Yorker\u003c/em>\u003c/a> that likens Mars exploration to 19th century polar expeditions. </geek out>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The MTV Movie Awards Set\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10563163\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-800x534.jpeg\" alt=\"JuxtapozDabsMyla05\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05-320x214.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/JuxtapozDabsMyla05.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>All I know about last Sunday’s MTV Movie Awards is that some bold, happy artwork was framing the whole situation. The entire stage and even the golden popcorn award statues were the work of prolific Australian artist duo Dabs Myla, who are headquartered in Los Angeles. From gallery shows to designs for big brands, they work nonstop. Having met them, I can say they’re the closest you’ll ever get to meeting cartoon characters in real life, and their art reflects their personalities perfectly. I’ve seen them paint 100-foot walls and build special immersive installations at \u003ca href=\"http://ww2.kqed.org/arts/2013/08/27/dabsmyla_san_francisco_is_for_lovers/\">local venues\u003c/a> like it was an easy day’s work. It was really cool to see their imaginative world of characters on this mega-massive scale. As far as I’m concerned, Dabs and Myla were the biggest celebrities of that awards show and MTV is relevant again. See more photos and an interview with the artists over at \u003ca href=\"http://www.juxtapoz.com/current/in-the-magazine-dabs-myla\">Juxtapoz\u003c/a>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Crazy Jewish Mom\u003c/h2>\n\u003cfigure id=\"attachment_10563037\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10563037\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n.jpg\" alt=\"Photo: Crazy Jewish Mom\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/11094479_1571711669761415_824667908_n-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.crazyjewishmom.com/\">Crazy Jewish Mom\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">I’m the parent of two children and, though they’re far from being oversensitive teenagers (my daughter is 3 and my son is 6 weeks), I’m already preparing myself for what will inevitably be my shunning as they grow older. One of the benefits of being a parent is the right to harass your children, driving them nuts in harmless ways, just like my parents did to me. If your kids are teens and they’re not telling you to “like totally quit it” on a regular basis, you’re doing something wrong.\u003c/p>\n\u003cp>This is why I love \u003ca href=\"http://www.crazyjewishmom.com/\">Crazy Jewish Mom\u003c/a>. Beyond the great jokes with Jewish themes—“SPAWN SERIOUSLY Easy on the Wine… Save some for Elijah”—what’s being documented is a mother-daughter relationship that anyone can appreciate. The references to her daughter as “spawn,” the boyfriend-hunting even when her girl isn’t single, the constant reminders that she needs to do kegels… It would be maddening for anyone, but it’s also the sign of a loving (and hilarious) relationship. I’m looking forward to my own version of that. Until then, I’ll soak up the fact that my daughter runs to hug me every day I come home from work.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The \u003cem>True Detective\u003c/em> Season 2 Trailer\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4OfU7CGY5DQ'\n title='//www.youtube.com/embed/4OfU7CGY5DQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">Like many humans, I fell headlong in love with \u003ci>True Detective\u003c/i> last year—its bayou horror, its \u003ca href=\"https://www.youtube.com/watch?v=v3WBsOsdzis\">\u003cspan class=\"s1\">stonking soundtrack\u003c/span>\u003c/a> and the opportunity it provided me to crow over the fact that I predicted what is now officially termed \u003ca href=\"http://www.newyorker.com/culture/culture-desk/the-mcconaissance\">\u003cspan class=\"s1\">the McConnaissance\u003c/span>\u003c/a>™ back in 2011 after watching \u003ca href=\"http://www.imdb.com/title/tt1189340/\">\u003cspan class=\"s1\">\u003ci>The Lincoln Lawyer\u003c/i>\u003c/span>\u003c/a>. In the interim, I developed the sneaking suspicion that \u003ci>True Detective \u003c/i>wasn’t actually as good as I thought it was and adjusted my Season 2 expectations accordingly. But in my wildest dreams, I never thought it could look \u003ci>this \u003c/i>bad.\u003c/p>\n\u003cp class=\"p1\">Seriously,\u003ci> \u003c/i>\u003ca href=\"https://youtu.be/4OfU7CGY5DQ\">\u003cspan class=\"s1\">what is this trailer\u003c/span>\u003c/a>? Why is this awful ballad playing? What acting style is Vince Vaughn quite literally straining for? Why is Colin Farrell a) sporting a mustache the size of a bobcat and b) \u003ci>weeping in every scene\u003c/i>? I haven’t even mentioned the total absence of dialogue that suggests the makers of this trailer somehow couldn’t get the rights to their own show. The whole mess makes me think that Season 2 will just embody the worst excesses of the first \u003ci>True Detective,\u003c/i> so here’s looking forward to endless conversations in dark bars, detectives with imploding marriages furrowing their brows over archive newspaper cuttings in basements, and at \u003ci>least \u003c/i>one visit to a strip club to track down a reluctant witness. And you know what? I WILL WATCH EVERY EPISODE.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over a fake soul band, a hummingbird, Timothy Olyphant, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Milky Edwards and the Chamberlings\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=LvXLuYXPL94\u003c/p>\n\u003cp class=\"p1\">I love David Bowie. Not only do I have a Ziggy Stardust tattoo, I’ve spent many hours pushing my vocal chords to the brink, trying to hit the high notes on “Life on Mars.” I also love ’60s soul music, which was the soundtrack to my wedding reception. So when someone posted the Milky Edwards version of “Moonage Daydream” on Facebook, it was like discovering manna from heaven.\u003c/p>\n\u003cp class=\"p1\">At the time, I was starving for music to be excited about, so imagine my disappointment when I discovered that there were only three songs posted on YouTube! As a matter of fact, there’s no proof of the band ever existing, and there are many reasons to believe \u003ca href=\"http://www.theguardian.com/music/musicblog/2013/sep/26/milky-edwards-chamberlings-ziggy-stardust-david-bowie-hoax\">it’s a hoax\u003c/a>. Still, it’s quite an elaborate hoax, and personally, I don’t care if the band never existed. I just want more soul bands doing Bowie covers — or at least for Milky Edwards to do a version of “Suffragette City.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Timothy Olyphant’s Nerdist episode\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10543879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Justified-2010-800x450.jpg\" alt=\"JUSTIFIED: Timothy Olyphant as Raylan Givens. CR: Frank Ockenfels III / FX\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp class=\"p1\">To anyone that’s known me for more than a minute (or just had the misfortune of engaging me on public transit), my longstanding crush on \u003ci>Justified \u003c/i>actor Timothy Olyphant is no secret. But even if you don’t share my “preoccupation,” this episode he recorded for the Nerdist podcast is still a total treat. The main attraction: so\u003ci> \u003c/i>many disarmingly frank (and unexpectedly wise) stories about the reality of being an actor in Hollywood. He talks about his need to make certified mind-rotter \u003ci>Hitman \u003c/i>to pay the bills after the sudden cancellation of HBO’s \u003ci>Deadwood\u003c/i>, which\u003ci> \u003c/i>coincided with his family’s purchase of a new house. Seriously, when was the last time you heard a movie star talking about mortgage anxiety?\u003c/p>\n\u003cp class=\"p1\">And if you’re \u003ci>also\u003c/i> obsessed with that much-missed TV masterpiece, the anecdotes from the \u003ci>Deadwood \u003c/i>set—including creator David Milch’s decision to kill off a child character because the young actor’s mother was being irritating—are just the best. If you’re not a little in love with Olyphant after listening to the hour and then some of this episode, I do \u003ci>not\u003c/i> want to hear about it.\u003ca href=\"https://nerdist.com/nerdist-podcast-timothy-olyphant/\"> Listen now!\u003c/a>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10546161\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10546161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Lakshmi Eassey\u003c/i>\u003cbr> Intern Extraordinaire, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Yuna’s Frank Ocean Cover\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=nm5yyimKo4E\u003c/p>\n\u003cp class=\"p1\">I love Frank Ocean and I love Yuna, so it should come as no surprise that I can’t stop listening to Yuna’s cover of Frank Ocean’s “Thinkin Bout You.” It’s from 2012, but I stumbled upon it it while doing some research on Yuna for \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">The Do List\u003c/a> (\u003ca href=\"http://www.yunamusic.com/tour/\">she’ll be in the Bay Area in May\u003c/a>). The video is recorded and shot at her home in L.A.; the song is from Frank Ocean’s debut solo album, \u003cem>Channel Orange\u003c/em>. The cover doesn’t speak to a lingering longing that reminds me of a special someone like the old school songs of K-Ci and JoJo, but with lyrics like “I don’t like you, I just thought you were cool enough to kick it” and Yuna’s sweet delivery and sweeter hair wrap, all I can think is \u003cem>damn, she’s cool enough to kick it\u003c/em>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Hummingbird\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10543884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hummingbird-800x547.jpeg\" alt=\"Hummingbird\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-400x274.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-768x525.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-320x219.jpeg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s not every day one gets to hold a baby hummingbird, but after discovering this small, beautiful bird right in front of KQED, what other choice did we have? The poor creature lay there immobile, directly in the path of foot traffic, so my coworker Kevin Jones gently picked it up. It tried, and failed, to fly, while I looked up San Francisco Animal Care and Control. Turns out it was only three blocks away! Hence, the uncommon sight of two public media employees carrying a tiny colorful hummingbird down Bryant Street and over to “\u003ca href=\"http://en.wikipedia.org/wiki/Rescue_Row\" target=\"_blank\" rel=\"noopener\">Rescue Row\u003c/a>.”\u003c/p>\n\u003cp>Luckily, Animal Care and Control assured us that it could take the bird, and that it wasn’t injured — just young and inexperienced at flight. To celebrate, our little friend suddenly took to the air, flew around the lobby a little bit, hovered near the counter and even tried to stick its long, needlelike beak into a receptionist’s ear. Hooray! All will be well. Adieu, little buddy…and thanks, \u003ca href=\"//www.sfgov2.org/index.aspx?page=942%E2%80%9D\">San Francisco Animal Care and Control\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“One Sweet Day”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=UXxRyNvTPr8\u003c/p>\n\u003cp>Earlier this week, \u003cem>The Bold Italic\u003c/em> announced they were shutting down. I ended my\u003ca href=\"http://ww2.kqed.org/pop/2015/04/07/the-bold-italic-suddenly-calls-it-quits-bay-area-goes-huh/\"> KQED Pop post about the news\u003c/a> with this music video for Mariah Carey and Boyz II Men’s 1995 monster hit “One Sweet Day,” a song about the dearly departed. This has led me to listen to it at least 20 times over the past two days. Why, you ask? Because it captures the spirit of ’90s pop and R&B perfectly, plus the video features the braces of one of the Boyz II Men members and Mariah wearing Converse.\u003c/p>\n\u003cp>It’s not just me; history supports my obsession with this song. Did you know that it spent 16 weeks at the top of the charts and still holds the record for the longest running number one song in Billboard history? Mark Ronson & Bruno Mars’ “Uptown Funk” (ugh, make it stop!) just tied Mariah’s “We Belong Together” and Boyz II Men’s “I’ll Make Love To You” for second place with 14 weeks. I whitehousepetition.org you to stop listening to “Uptown Funk” immediately and start listening to “One Sweet Day” again. It’s the only way to keep things right in the world.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over a fake soul band, a hummingbird, Timothy Olyphant, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362482\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362482 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg\" alt=\"Kevin Jones Producer, KQED Arts\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kevin-jones-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kjones/\">Kevin Jones\u003c/a>\u003c/i>\u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Milky Edwards and the Chamberlings\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LvXLuYXPL94'\n title='//www.youtube.com/embed/LvXLuYXPL94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">I love David Bowie. Not only do I have a Ziggy Stardust tattoo, I’ve spent many hours pushing my vocal chords to the brink, trying to hit the high notes on “Life on Mars.” I also love ’60s soul music, which was the soundtrack to my wedding reception. So when someone posted the Milky Edwards version of “Moonage Daydream” on Facebook, it was like discovering manna from heaven.\u003c/p>\n\u003cp class=\"p1\">At the time, I was starving for music to be excited about, so imagine my disappointment when I discovered that there were only three songs posted on YouTube! As a matter of fact, there’s no proof of the band ever existing, and there are many reasons to believe \u003ca href=\"http://www.theguardian.com/music/musicblog/2013/sep/26/milky-edwards-chamberlings-ziggy-stardust-david-bowie-hoax\">it’s a hoax\u003c/a>. Still, it’s quite an elaborate hoax, and personally, I don’t care if the band never existed. I just want more soul bands doing Bowie covers — or at least for Milky Edwards to do a version of “Suffragette City.”\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Timothy Olyphant’s Nerdist episode\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10543879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Justified-2010-800x450.jpg\" alt=\"JUSTIFIED: Timothy Olyphant as Raylan Givens. CR: Frank Ockenfels III / FX\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Justified-2010.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp class=\"p1\">To anyone that’s known me for more than a minute (or just had the misfortune of engaging me on public transit), my longstanding crush on \u003ci>Justified \u003c/i>actor Timothy Olyphant is no secret. But even if you don’t share my “preoccupation,” this episode he recorded for the Nerdist podcast is still a total treat. The main attraction: so\u003ci> \u003c/i>many disarmingly frank (and unexpectedly wise) stories about the reality of being an actor in Hollywood. He talks about his need to make certified mind-rotter \u003ci>Hitman \u003c/i>to pay the bills after the sudden cancellation of HBO’s \u003ci>Deadwood\u003c/i>, which\u003ci> \u003c/i>coincided with his family’s purchase of a new house. Seriously, when was the last time you heard a movie star talking about mortgage anxiety?\u003c/p>\n\u003cp class=\"p1\">And if you’re \u003ci>also\u003c/i> obsessed with that much-missed TV masterpiece, the anecdotes from the \u003ci>Deadwood \u003c/i>set—including creator David Milch’s decision to kill off a child character because the young actor’s mother was being irritating—are just the best. If you’re not a little in love with Olyphant after listening to the hour and then some of this episode, I do \u003ci>not\u003c/i> want to hear about it.\u003ca href=\"https://nerdist.com/nerdist-podcast-timothy-olyphant/\"> Listen now!\u003c/a>\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10546161\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10546161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Lakshmi-Bio-Pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Lakshmi Eassey\u003c/i>\u003cbr> Intern Extraordinaire, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Yuna’s Frank Ocean Cover\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nm5yyimKo4E'\n title='//www.youtube.com/embed/nm5yyimKo4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">I love Frank Ocean and I love Yuna, so it should come as no surprise that I can’t stop listening to Yuna’s cover of Frank Ocean’s “Thinkin Bout You.” It’s from 2012, but I stumbled upon it it while doing some research on Yuna for \u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">The Do List\u003c/a> (\u003ca href=\"http://www.yunamusic.com/tour/\">she’ll be in the Bay Area in May\u003c/a>). The video is recorded and shot at her home in L.A.; the song is from Frank Ocean’s debut solo album, \u003cem>Channel Orange\u003c/em>. The cover doesn’t speak to a lingering longing that reminds me of a special someone like the old school songs of K-Ci and JoJo, but with lyrics like “I don’t like you, I just thought you were cool enough to kick it” and Yuna’s sweet delivery and sweeter hair wrap, all I can think is \u003cem>damn, she’s cool enough to kick it\u003c/em>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">This Hummingbird\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10543884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Hummingbird-800x547.jpeg\" alt=\"Hummingbird\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-400x274.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-768x525.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Hummingbird-320x219.jpeg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s not every day one gets to hold a baby hummingbird, but after discovering this small, beautiful bird right in front of KQED, what other choice did we have? The poor creature lay there immobile, directly in the path of foot traffic, so my coworker Kevin Jones gently picked it up. It tried, and failed, to fly, while I looked up San Francisco Animal Care and Control. Turns out it was only three blocks away! Hence, the uncommon sight of two public media employees carrying a tiny colorful hummingbird down Bryant Street and over to “\u003ca href=\"http://en.wikipedia.org/wiki/Rescue_Row\" target=\"_blank\" rel=\"noopener\">Rescue Row\u003c/a>.”\u003c/p>\n\u003cp>Luckily, Animal Care and Control assured us that it could take the bird, and that it wasn’t injured — just young and inexperienced at flight. To celebrate, our little friend suddenly took to the air, flew around the lobby a little bit, hovered near the counter and even tried to stick its long, needlelike beak into a receptionist’s ear. Hooray! All will be well. Adieu, little buddy…and thanks, \u003ca href=\"//www.sfgov2.org/index.aspx?page=942%E2%80%9D\">San Francisco Animal Care and Control\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">“One Sweet Day”\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UXxRyNvTPr8'\n title='//www.youtube.com/embed/UXxRyNvTPr8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Earlier this week, \u003cem>The Bold Italic\u003c/em> announced they were shutting down. I ended my\u003ca href=\"http://ww2.kqed.org/pop/2015/04/07/the-bold-italic-suddenly-calls-it-quits-bay-area-goes-huh/\"> KQED Pop post about the news\u003c/a> with this music video for Mariah Carey and Boyz II Men’s 1995 monster hit “One Sweet Day,” a song about the dearly departed. This has led me to listen to it at least 20 times over the past two days. Why, you ask? Because it captures the spirit of ’90s pop and R&B perfectly, plus the video features the braces of one of the Boyz II Men members and Mariah wearing Converse.\u003c/p>\n\u003cp>It’s not just me; history supports my obsession with this song. Did you know that it spent 16 weeks at the top of the charts and still holds the record for the longest running number one song in Billboard history? Mark Ronson & Bruno Mars’ “Uptown Funk” (ugh, make it stop!) just tied Mariah’s “We Belong Together” and Boyz II Men’s “I’ll Make Love To You” for second place with 14 weeks. I whitehousepetition.org you to stop listening to “Uptown Funk” immediately and start listening to “One Sweet Day” again. It’s the only way to keep things right in the world.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over Ghostface Killah’s favorite jazz musicians, the music videos of Hiro Murai, Selena, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Every Frame a Painting\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=I8lQKLjmoWI\u003c/p>\n\u003cp>It’s notoriously difficult to talk about movies in any depth—beyond “It’s in black and white!”—without sounding like a tedious poser. That’s why I love \u003ca href=\"https://www.youtube.com/channel/UCjFqcJQXGZ6T6sxyFB-5i6A\">\u003cspan class=\"s1\">these zippy video essays\u003c/span>\u003c/a> on how and why films \u003ci>work\u003c/i>,\u003ci> \u003c/i>by San Francisco-based buff \u003ca href=\"https://twitter.com/tonyszhou\">\u003cspan class=\"s1\">Tony Zhou\u003c/span>\u003c/a>. Delving into the nitty-gritty of technique and style without ever being pretentious, they reveal all the stuff you never notice, drawing from a huge range of movies you’ll actually, you know, \u003ci>recognize\u003c/i> (no film school preciousness here). My favorites so far? His take on \u003ca href=\"https://www.youtube.com/watch?v=uFfq2zblGXw\">\u003cspan class=\"s1\">text messages on-screen\u003c/span>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=8q4X2vDRfRk\">\u003cspan class=\"s1\">the ferry scene in \u003c/span>\u003cspan class=\"s2\">\u003ci>Jaws\u003c/i>\u003c/span>\u003c/a> and why \u003ca href=\"https://www.youtube.com/watch?v=Z1PCtIaM_GQ\">\u003cspan class=\"s1\">Jackie Chan’s fights\u003c/span>\u003c/a> are so fun to watch. Like the best explainers, these fascinating videos underestimate your knowledge, not your intelligence. (P.S. I only just learned that \u003ca href=\"http://www.reddit.com/r/TrueFilm/comments/2rg8jt/i_am_tony_zhou_creator_of_the_every_frame_a/\">\u003cspan class=\"s1\">Tony\u003c/span>\u003c/a> is based in San Francisco while writing this! Which means… he could be in \u003ci>my\u003c/i> Starbucks right now, snipping bits out of \u003ci>Goodfellas\u003c/i>!)\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">BadBadNotGood\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=JUlPrRHfWAI\u003c/p>\n\u003cp>The year was 2003, and jazz was yet again declared to be dead; yet out of the abyss came \u003cem>These are the Vistas\u003c/em>, the major-label debut of iconoclastic trio the Bad Plus. They \u003ca href=\"https://www.youtube.com/watch?v=RZ6Xo1mYSJg\" target=\"_blank\" rel=\"noopener\">covered Nirvana\u003c/a> and Blondie. They played jazz like lion tamers. They got a 7.0 from Pitchfork. And just like that, thousands of indie-rock fans started listening to jazz. Twelve years later, the Toronto trio BadBadNotGood is doing the same thing for hip-hop fans—playing jazz with a boom-bap backbeat and collaborating with Tyler, the Creator, Frank Ocean, and Ghostface Killah. In fact, BadBadNotGood provides the instrumental backing for Ghostface’s new album, \u003ca href=\"https://www.youtube.com/watch?v=jI5rbMDrL3I\" target=\"_blank\" rel=\"noopener\">\u003cem>Sour Soul\u003c/em>\u003c/a>, but I’m currently obsessed with the group’s latest release as a trio, the more traditionally jazzy \u003cem>III\u003c/em>. Of course, someone’s uploaded the entire album to YouTube — hear it above.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Also Shot On iPhone 6\u003c/h2>\n\u003cfigure id=\"attachment_10524252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10524252\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-800x573.png\" alt=\"Photo: Also Shot on iPhone 6 / Tumblr\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-400x286.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-1180x844.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-320x229.png 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo: Also Shot on iPhone 6 / \u003ca href=\"http://alsoshotoniphone6.tumblr.com/\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>When I first saw Apple’s ‘Shot on iPhone 6’ campaign, it brought to mind creepy marketers combing through thousands of people’s photo albums to find images that would create the photo journal of the Perfect Person’s life. Many of the images they selected for the campaign depict moments of said Perfect Person in serene beauty: standing on top of a mountain, walking in woods blanketed with snow, sitting at the beach looking at the sunset, walking through sunflower fields.\u003c/p>\n\u003cp>After seeing these billboards plastered all over SF, I found them tiresome….UNTIL I came across \u003ca href=\"http://alsoshotoniphone6.tumblr.com/\">Also Shot On iPhone 6\u003c/a>. The folks behind the Also Shot On campaign says their prank was created “to shed light on the fact that most photos taken with the device are a little less than perfect, and simply possessing an iPhone 6 probably isn’t going to change that for the typical consumer.” I love the snarky, DIY attitude of this advertising hack.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Hiro Murai’s Music Videos\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=2lXD0vv-ds8\u003c/p>\n\u003cp>\u003ca href=\"http://hiromurai.com\">Hiro Murai\u003c/a> makes music videos that swiftly transport you to another world, taking you to intense, riveting places in just a few minutes. His fascination with the mystery of dream states and uncanny vibes is strongly reflected in his work. Kendrick Lamar and Flying Lotus weren’t the focus of Murai’s video for their “Never Catch Me” collab, but the narrative was powerful and abstractly illustrative of the musicians’ intentions. Another favorite is \u003ca href=\"https://www.youtube.com/watch?v=ahpSKdLfB40\" target=\"_blank\" rel=\"noopener\">St. Vincent’s “Cheerleader”\u003c/a>; Murai was inspired by hyper-real sculptor Ron Mueck for the larger-than-life video. And those two are just scratching the surface of all the rad music videos he’s made. Head over to \u003ca href=\"http://hiromurai.com\">his official site\u003c/a> and sink into short films set to music by Childish Gambino, the Shins, Sia, Earl Sweatshirt, Cults, Shabazz Palaces and more!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Selena\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=P_317nB39bc\u003c/p>\n\u003cp>This week marked the 20th anniversary of Selena’s death, so her music has been pumping through my headphones nonstop. \u003ca href=\"http://ww2.kqed.org/pop/2015/03/31/remembering-selena-20-years-after-her-death/\">I wrote a piece for KQED Pop \u003c/a>about why Selena was so important. Yes, she had an amazing voice and so much charisma, but beyond her music and personality, the reason she is still remembered is that she made people who weren’t used to being represented feel seen, and made this first-generation kid stop apologizing for his difference and revel in it instead. For that, I will always love her. The disco medley above is from her last concert. It captures everything Selena did best.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over Ghostface Killah's favorite jazz musicians, the music videos of Hiro Murai, Selena, and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the watercooler to cyber space! This week, we’re freaking out over Ghostface Killah’s favorite jazz musicians, the music videos of Hiro Murai, Selena, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Every Frame a Painting\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I8lQKLjmoWI'\n title='//www.youtube.com/embed/I8lQKLjmoWI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s notoriously difficult to talk about movies in any depth—beyond “It’s in black and white!”—without sounding like a tedious poser. That’s why I love \u003ca href=\"https://www.youtube.com/channel/UCjFqcJQXGZ6T6sxyFB-5i6A\">\u003cspan class=\"s1\">these zippy video essays\u003c/span>\u003c/a> on how and why films \u003ci>work\u003c/i>,\u003ci> \u003c/i>by San Francisco-based buff \u003ca href=\"https://twitter.com/tonyszhou\">\u003cspan class=\"s1\">Tony Zhou\u003c/span>\u003c/a>. Delving into the nitty-gritty of technique and style without ever being pretentious, they reveal all the stuff you never notice, drawing from a huge range of movies you’ll actually, you know, \u003ci>recognize\u003c/i> (no film school preciousness here). My favorites so far? His take on \u003ca href=\"https://www.youtube.com/watch?v=uFfq2zblGXw\">\u003cspan class=\"s1\">text messages on-screen\u003c/span>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=8q4X2vDRfRk\">\u003cspan class=\"s1\">the ferry scene in \u003c/span>\u003cspan class=\"s2\">\u003ci>Jaws\u003c/i>\u003c/span>\u003c/a> and why \u003ca href=\"https://www.youtube.com/watch?v=Z1PCtIaM_GQ\">\u003cspan class=\"s1\">Jackie Chan’s fights\u003c/span>\u003c/a> are so fun to watch. Like the best explainers, these fascinating videos underestimate your knowledge, not your intelligence. (P.S. I only just learned that \u003ca href=\"http://www.reddit.com/r/TrueFilm/comments/2rg8jt/i_am_tony_zhou_creator_of_the_every_frame_a/\">\u003cspan class=\"s1\">Tony\u003c/span>\u003c/a> is based in San Francisco while writing this! Which means… he could be in \u003ci>my\u003c/i> Starbucks right now, snipping bits out of \u003ci>Goodfellas\u003c/i>!)\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">BadBadNotGood\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/JUlPrRHfWAI'\n title='//www.youtube.com/embed/JUlPrRHfWAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The year was 2003, and jazz was yet again declared to be dead; yet out of the abyss came \u003cem>These are the Vistas\u003c/em>, the major-label debut of iconoclastic trio the Bad Plus. They \u003ca href=\"https://www.youtube.com/watch?v=RZ6Xo1mYSJg\" target=\"_blank\" rel=\"noopener\">covered Nirvana\u003c/a> and Blondie. They played jazz like lion tamers. They got a 7.0 from Pitchfork. And just like that, thousands of indie-rock fans started listening to jazz. Twelve years later, the Toronto trio BadBadNotGood is doing the same thing for hip-hop fans—playing jazz with a boom-bap backbeat and collaborating with Tyler, the Creator, Frank Ocean, and Ghostface Killah. In fact, BadBadNotGood provides the instrumental backing for Ghostface’s new album, \u003ca href=\"https://www.youtube.com/watch?v=jI5rbMDrL3I\" target=\"_blank\" rel=\"noopener\">\u003cem>Sour Soul\u003c/em>\u003c/a>, but I’m currently obsessed with the group’s latest release as a trio, the more traditionally jazzy \u003cem>III\u003c/em>. Of course, someone’s uploaded the entire album to YouTube — hear it above.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Also Shot On iPhone 6\u003c/h2>\n\u003cfigure id=\"attachment_10524252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10524252\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-800x573.png\" alt=\"Photo: Also Shot on iPhone 6 / Tumblr\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-800x573.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-400x286.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-1180x844.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-768x550.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280-320x229.png 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/tumblr_nlr4tt9ANb1ur8txgo1_1280.png 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo: Also Shot on iPhone 6 / \u003ca href=\"http://alsoshotoniphone6.tumblr.com/\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>When I first saw Apple’s ‘Shot on iPhone 6’ campaign, it brought to mind creepy marketers combing through thousands of people’s photo albums to find images that would create the photo journal of the Perfect Person’s life. Many of the images they selected for the campaign depict moments of said Perfect Person in serene beauty: standing on top of a mountain, walking in woods blanketed with snow, sitting at the beach looking at the sunset, walking through sunflower fields.\u003c/p>\n\u003cp>After seeing these billboards plastered all over SF, I found them tiresome….UNTIL I came across \u003ca href=\"http://alsoshotoniphone6.tumblr.com/\">Also Shot On iPhone 6\u003c/a>. The folks behind the Also Shot On campaign says their prank was created “to shed light on the fact that most photos taken with the device are a little less than perfect, and simply possessing an iPhone 6 probably isn’t going to change that for the typical consumer.” I love the snarky, DIY attitude of this advertising hack.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Hiro Murai’s Music Videos\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2lXD0vv-ds8'\n title='//www.youtube.com/embed/2lXD0vv-ds8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"http://hiromurai.com\">Hiro Murai\u003c/a> makes music videos that swiftly transport you to another world, taking you to intense, riveting places in just a few minutes. His fascination with the mystery of dream states and uncanny vibes is strongly reflected in his work. Kendrick Lamar and Flying Lotus weren’t the focus of Murai’s video for their “Never Catch Me” collab, but the narrative was powerful and abstractly illustrative of the musicians’ intentions. Another favorite is \u003ca href=\"https://www.youtube.com/watch?v=ahpSKdLfB40\" target=\"_blank\" rel=\"noopener\">St. Vincent’s “Cheerleader”\u003c/a>; Murai was inspired by hyper-real sculptor Ron Mueck for the larger-than-life video. And those two are just scratching the surface of all the rad music videos he’s made. Head over to \u003ca href=\"http://hiromurai.com\">his official site\u003c/a> and sink into short films set to music by Childish Gambino, the Shins, Sia, Earl Sweatshirt, Cults, Shabazz Palaces and more!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Selena\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P_317nB39bc'\n title='//www.youtube.com/embed/P_317nB39bc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This week marked the 20th anniversary of Selena’s death, so her music has been pumping through my headphones nonstop. \u003ca href=\"http://ww2.kqed.org/pop/2015/03/31/remembering-selena-20-years-after-her-death/\">I wrote a piece for KQED Pop \u003c/a>about why Selena was so important. Yes, she had an amazing voice and so much charisma, but beyond her music and personality, the reason she is still remembered is that she made people who weren’t used to being represented feel seen, and made this first-generation kid stop apologizing for his difference and revel in it instead. For that, I will always love her. The disco medley above is from her last concert. It captures everything Selena did best.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over Serena Williams’ Beyoncé tribute, a famous carpet, a sexually transmitted curse, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Serena Williams Does Her Best Beyoncé Impression\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=H7AF5294ED4\u003c/p>\n\u003cp>There are few things I love more than celebrities geeking out over other celebrities, like \u003ca href=\"https://www.youtube.com/watch?v=5TL7ksX_iSM\">when Eden Sher lost her mind\u003c/a> upon meeting Taylor Swift. While not as hilarious as that (although what is, really?), Serena Williams’ recreation of \u003ca href=\"https://www.youtube.com/watch?v=k4YRWT_Aldo\">Beyoncé’s “7/11” music video\u003c/a> is supremely entertaining, in a \u003ca href=\"http://media.dcentertainment.com/sites/default/files/MAD-Stars-Just-Like-Us.jpg\">\u003cem>Stars—They’re Just Like Us!\u003c/em>\u003c/a> kind of way. Haven’t we all recorded ourselves lipsyncing to a song by our favorite singer or band? Haven’t we all pulled our backs out while recreating Robyn’s dance routine from “Call Your Girlfriend”? Oh, that’s just me.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">PDX’s Carpet Named Grand Marshal\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=OT8jIe5NuDc\u003c/p>\n\u003cp class=\"p1\">Did you know the Portland Airport’s carpet is famous? In the tradition of keeping it weird, Portland rolled up a piece of their airport carpet last week and \u003ca href=\"http://www.kgw.com/story/news/2015/03/20/pdx-carpet-grand-marshal-starlight-parade/25091495/\">named it the Grand Marshal\u003c/a> of the Starlight Parade for the Portland Rose Festival. Known as Pedey (or PD or Petey), the carpet was quickly anthropomorphized with a hat, a belt, and two large googly eyes. People are so fond of the carpet’s retro design that you can get \u003ca href=\"http://pdxcarpet.com/\">\u003cspan class=\"s1\">socks, T-shirts and more\u003c/span>\u003c/a> printed with the beloved ’80s pattern. The carpet covers 13 acres of the airport and is currently being replaced, hence the nostalgia. Long live Petey! I wonder if someone is going to sell pieces of him like they do with the \u003ca href=\"http://www.ebay.com/bhp/berlin-wall\">\u003cspan class=\"s1\">Berlin wall\u003c/span>\u003c/a>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gabe Meline\u003c/i>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Liar’s Club’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=KctTnPrWS1A\u003c/p>\n\u003cp class=\"p1\">The bonus to coming across ‘What is This Thing Called?’—my addiction from \u003ca href=\"http://ww2.kqed.org/arts/2015/03/19/obsessed-everything-we-cant-stop-talking-about-this-week-7/\">last week’s Obsessed column\u003c/a>—is that I remembered a game show that my dad told me about long ago. He, as a construction worker, and I, as a kid helping out on job sites, would discover unusual objects and commence playing “Liar’s Club,” where we gave outlandish descriptions of the object’s purpose to each other until we a) settled on the one that made the most sense or b) bowled over laughing, and then got back to nailing baseboard. Our little game was based on the 1970s game show \u003cem>Liar’s Club.\u003c/em> I hadn’t thought to look up the show on YouTube until this week, and man, I’m hooked. Celebrity guests pass around a weird object, tell bizarre stories about what it’s for, and contestants have to guess which one’s actually telling the truth. Catch an episode with Betty White, Peter Marshall, Larry Hovis and Pat McCormick above!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘It Follows’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=HkZYbOH0ujw\u003c/p>\n\u003cp class=\"p1\">A sexually transmitted curse, which manifests as a slowly advancing figure and mangles you to death when it catches you? A pseudo-’80s suburban setting? “Never go anywhere with only one exit”?! Come on, the trailer alone for this movie made me want to see it so badly that I was basically trying to feed my admission fee into my laptop’s CD slot. \u003ci>It Follows\u003c/i> is definitely more haunting than terrifying, so don’t fall for the “scariest horror of the last ten years” hype, but it’s got an awesome atmosphere of dread (adults can’t help you, kids!), shockingly gorgeous cinematography that makes everything look like \u003ca href=\"http://www.aperture.org/crewdson/\">\u003cspan class=\"s1\">a Gregory Crewdson photo\u003c/span>\u003c/a> and, above all, \u003ca href=\"https://www.youtube.com/watch?v=XxfQEZXRPNQ\">\u003cspan class=\"s1\">an insanely good John Carpenter-esque soundtrack by Disasterpeace\u003c/span>\u003c/a>. It’s most obviously indebted to \u003ci>Halloween\u003c/i>, but with its social smarts, relentless supernatural pursuer and general mood of despair, \u003cem>It Follows\u003c/em> reminds me most of a suburban teen \u003ci>Candyman\u003c/i>. Which is — duh — the best thing possible.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over Serena Williams’ Beyoncé tribute, a famous carpet, a sexually transmitted curse, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Serena Williams Does Her Best Beyoncé Impression\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H7AF5294ED4'\n title='//www.youtube.com/embed/H7AF5294ED4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are few things I love more than celebrities geeking out over other celebrities, like \u003ca href=\"https://www.youtube.com/watch?v=5TL7ksX_iSM\">when Eden Sher lost her mind\u003c/a> upon meeting Taylor Swift. While not as hilarious as that (although what is, really?), Serena Williams’ recreation of \u003ca href=\"https://www.youtube.com/watch?v=k4YRWT_Aldo\">Beyoncé’s “7/11” music video\u003c/a> is supremely entertaining, in a \u003ca href=\"http://media.dcentertainment.com/sites/default/files/MAD-Stars-Just-Like-Us.jpg\">\u003cem>Stars—They’re Just Like Us!\u003c/em>\u003c/a> kind of way. Haven’t we all recorded ourselves lipsyncing to a song by our favorite singer or band? Haven’t we all pulled our backs out while recreating Robyn’s dance routine from “Call Your Girlfriend”? Oh, that’s just me.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">PDX’s Carpet Named Grand Marshal\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OT8jIe5NuDc'\n title='//www.youtube.com/embed/OT8jIe5NuDc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">Did you know the Portland Airport’s carpet is famous? In the tradition of keeping it weird, Portland rolled up a piece of their airport carpet last week and \u003ca href=\"http://www.kgw.com/story/news/2015/03/20/pdx-carpet-grand-marshal-starlight-parade/25091495/\">named it the Grand Marshal\u003c/a> of the Starlight Parade for the Portland Rose Festival. Known as Pedey (or PD or Petey), the carpet was quickly anthropomorphized with a hat, a belt, and two large googly eyes. People are so fond of the carpet’s retro design that you can get \u003ca href=\"http://pdxcarpet.com/\">\u003cspan class=\"s1\">socks, T-shirts and more\u003c/span>\u003c/a> printed with the beloved ’80s pattern. The carpet covers 13 acres of the airport and is currently being replaced, hence the nostalgia. Long live Petey! I wonder if someone is going to sell pieces of him like they do with the \u003ca href=\"http://www.ebay.com/bhp/berlin-wall\">\u003cspan class=\"s1\">Berlin wall\u003c/span>\u003c/a>.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gabe Meline\u003c/i>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Liar’s Club’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KctTnPrWS1A'\n title='//www.youtube.com/embed/KctTnPrWS1A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">The bonus to coming across ‘What is This Thing Called?’—my addiction from \u003ca href=\"http://ww2.kqed.org/arts/2015/03/19/obsessed-everything-we-cant-stop-talking-about-this-week-7/\">last week’s Obsessed column\u003c/a>—is that I remembered a game show that my dad told me about long ago. He, as a construction worker, and I, as a kid helping out on job sites, would discover unusual objects and commence playing “Liar’s Club,” where we gave outlandish descriptions of the object’s purpose to each other until we a) settled on the one that made the most sense or b) bowled over laughing, and then got back to nailing baseboard. Our little game was based on the 1970s game show \u003cem>Liar’s Club.\u003c/em> I hadn’t thought to look up the show on YouTube until this week, and man, I’m hooked. Celebrity guests pass around a weird object, tell bizarre stories about what it’s for, and contestants have to guess which one’s actually telling the truth. Catch an episode with Betty White, Peter Marshall, Larry Hovis and Pat McCormick above!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘It Follows’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HkZYbOH0ujw'\n title='//www.youtube.com/embed/HkZYbOH0ujw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">A sexually transmitted curse, which manifests as a slowly advancing figure and mangles you to death when it catches you? A pseudo-’80s suburban setting? “Never go anywhere with only one exit”?! Come on, the trailer alone for this movie made me want to see it so badly that I was basically trying to feed my admission fee into my laptop’s CD slot. \u003ci>It Follows\u003c/i> is definitely more haunting than terrifying, so don’t fall for the “scariest horror of the last ten years” hype, but it’s got an awesome atmosphere of dread (adults can’t help you, kids!), shockingly gorgeous cinematography that makes everything look like \u003ca href=\"http://www.aperture.org/crewdson/\">\u003cspan class=\"s1\">a Gregory Crewdson photo\u003c/span>\u003c/a> and, above all, \u003ca href=\"https://www.youtube.com/watch?v=XxfQEZXRPNQ\">\u003cspan class=\"s1\">an insanely good John Carpenter-esque soundtrack by Disasterpeace\u003c/span>\u003c/a>. It’s most obviously indebted to \u003ci>Halloween\u003c/i>, but with its social smarts, relentless supernatural pursuer and general mood of despair, \u003cem>It Follows\u003c/em> reminds me most of a suburban teen \u003ci>Candyman\u003c/i>. Which is — duh — the best thing possible.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over a mole woman, a drug dealer, a child star turned artist, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Unbreakable Kimmy Schmidt’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=mNKEKlXY3Z4\u003c/p>\n\u003cp>For the past few months, I’ve been marathoning \u003cem>Friends\u003c/em> from the beginning. It was fun in a time capsule-y way at first, but all the homophobic jokes got to be too much. Just when I needed saving from the 10-season abyss of outdated social attitudes, in swooped \u003cem>Unbreakable Kimmy Schmidt\u003c/em> to the rescue! The show, created by the perfect Tina Fey, is Netflix’s latest foray into television and follows a cult member who’s been underground for the past 15 years as she moves to New York and tries to be normal. The jokes write themselves. So far (I’m only on episode 3), \u003cem>Unbreakable\u003c/em> is like a cartoon puppy, more twee than Zooey Deschannel eating a cupcake, but something about it (maybe the \u003ca href=\"http://en.wikipedia.org/wiki/Amelia_Bedelia\">Amelia Bedelia\u003c/a> reference) has me excited to see more.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Alia Shawkat’s Art\u003c/h2>\n\u003cdiv>\n\u003cfigure id=\"attachment_10483359\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10483359\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/MG_3238.jpg\" alt=\"Photo: Alia Shawkat\" width=\"500\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238-400x307.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238-320x246.jpg 320w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://mutantalia.com/\">Alia Shawkat\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp class=\"p1\">You may know Alia Shawkat as Maeby Fünke from \u003cem>Arrested Development\u003c/em> or her recent steamy cameo on \u003ca href=\"http://ww2.kqed.org/pop/2015/03/16/broad-city-keyboard-just-made-your-texts-way-more-exciting/\">\u003cem>Broad City\u003c/em>\u003c/a>, but did you know she’s also an artist? It’s true, and her work seems more genuine and is less conceptual than art by other actors who have dipped into the gallery game (ahem, James Franco and Shia LaBeouf). Shawkat has shown her work internationally and, though it’s possible her acting gigs are infringing on her studio time since she doesn’t list any recent shows on \u003ca href=\"mutantalia.com\" target=\"_blank\" rel=\"noopener\">her website\u003c/a>, she does have some funny drawings for sale. Maybe you should invest in a Maeby original at \u003ca href=\"mutantalia.com\" target=\"_blank\" rel=\"noopener\">mutantalia.com\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Happy Valley’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=G_YjBW5YWvI\u003c/p>\n\u003cp class=\"p1\">After months of having this UK crime drama relentlessly “suggested” to me by Netflix, I finally cracked. What initially seems like a rural caper about a harebrained criminal scheme going awry gets horribly dark and nasty with terrifying speed (full disclosure: I binge-watched all six episodes in one night). It’s got an incredibly good, vanity-free lead performance from \u003ca href=\"http://en.wikipedia.org/wiki/Sarah_Lancashire\">\u003cspan class=\"s1\">Sarah Lancashire\u003c/span>\u003c/a> (never write off former soap stars!), superbly drawn female characters by the bucketload, and \u003ca href=\"http://www.bbc.co.uk/programmes/articles/2FypLJlVY9cmSVXGkPwG6lr/tommys-just-as-real-as-every-other-character\">\u003cspan class=\"s1\">one of the most \u003c/span>\u003cspan class=\"s2\">\u003ci>truly\u003c/i>\u003c/span>\u003cspan class=\"s1\"> hateful villains\u003c/span>\u003c/a> ever — kind of remarkable in a TV landscape saturated with increasingly outlandish mass murderers. Violence is used so sparingly that when it appears, it’s genuinely shocking, with one pivotal scene that’s the scariest thing I’ve seen onscreen in a long time. So many UK crime dramas strain to look and sound “American” (looking at you, \u003ca href=\"http://variety.com/2014/tv/news/luther-idris-elba-bbc-america-new-miniseries-1201360461/\">\u003cspan class=\"s1\">\u003ci>Luther\u003c/i>\u003c/span>\u003c/a>), and I’m so glad this one doesn’t. It’s miles better than \u003ci>Broadchurch\u003c/i>, and it might just (whisper it) be as good as \u003ci>The Fall\u003c/i>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">\u003cem>High Maintenance\u003c/em>\u003c/h2>\n\u003cp>https://vimeo.com/53044580\u003c/p>\n\u003cp class=\"p1\">Vimeo’s foray into the world of original programming brings us the fabulous escapades of a nameless weed delivery man who encounters neurotic, awkward and hilariously real clients throughout Brooklyn. It isn’t a classic stoner comedy — rather, it’s a parody on the life of city dwellers, and a quick look into people’s motivations, habits and homes. Husband-and-wife team Katja Blichfeld and Ben Sinclair have skillfully repurposed their casting, acting and directing expertise from big shows like \u003cem>30 Rock\u003c/em> into an internet darling with cameos from folks like \u003ca href=\"https://vimeo.com/channels/highmaintenance/90011431\">\u003cspan class=\"s1\">Dan Stevens\u003c/span>\u003c/a> (Matthew Crawley from \u003cem>Downton Abbey\u003c/em>) and \u003ca href=\"https://vimeo.com/64447340\">\u003cspan class=\"s1\">Hannibal Buress\u003c/span>\u003c/a>. Before Vimeo came on the scene, the first episodes (still free online) were totally DIY — self-funded, and filmed in Blichfeld and Sinclair’s apartment with friends. Check out the episode above, which follows what happens when two Fleet Foxes-listening, Kombucha-drinking hippies find a mouse in a glue trap.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gabe Meline\u003c/i>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">What is This Thing Called?\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10483363\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM.png\" alt=\"Screen shot 2015-03-18 at 6.04.21 PM\" width=\"509\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM.png 509w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM-400x321.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM-320x257.png 320w\" sizes=\"(max-width: 509px) 100vw, 509px\">\u003c/p>\n\u003cp class=\"p1\">I can’t tell you how many times in my life I’ve seen a stray metal object on the ground, clearly having once served a purpose now unidentifiable out of context, and thought to myself, “What is that thing called?” So it’s a very oddly satisfying experience looking at pictures of such objects, over and over, captioned by the same question. The Tumblr ‘\u003ca href=\"http://whatisthisthingcalled.com/\">What is This Thing Called?\u003c/a>’ doesn’t serve to provide any answers, which seems antithetical to the entire idea of the internet. What it \u003cem>does\u003c/em> provide is a reassurance that curiosity is fine on its own, and need not be consummated with knowledge. I like that idea.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over a mole woman, a drug dealer, a child star-turned-artist, and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over a mole woman, a drug dealer, a child star turned artist, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Unbreakable Kimmy Schmidt’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mNKEKlXY3Z4'\n title='//www.youtube.com/embed/mNKEKlXY3Z4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the past few months, I’ve been marathoning \u003cem>Friends\u003c/em> from the beginning. It was fun in a time capsule-y way at first, but all the homophobic jokes got to be too much. Just when I needed saving from the 10-season abyss of outdated social attitudes, in swooped \u003cem>Unbreakable Kimmy Schmidt\u003c/em> to the rescue! The show, created by the perfect Tina Fey, is Netflix’s latest foray into television and follows a cult member who’s been underground for the past 15 years as she moves to New York and tries to be normal. The jokes write themselves. So far (I’m only on episode 3), \u003cem>Unbreakable\u003c/em> is like a cartoon puppy, more twee than Zooey Deschannel eating a cupcake, but something about it (maybe the \u003ca href=\"http://en.wikipedia.org/wiki/Amelia_Bedelia\">Amelia Bedelia\u003c/a> reference) has me excited to see more.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Alia Shawkat’s Art\u003c/h2>\n\u003cdiv>\n\u003cfigure id=\"attachment_10483359\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10483359\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/MG_3238.jpg\" alt=\"Photo: Alia Shawkat\" width=\"500\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238-400x307.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/MG_3238-320x246.jpg 320w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://mutantalia.com/\">Alia Shawkat\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cp class=\"p1\">You may know Alia Shawkat as Maeby Fünke from \u003cem>Arrested Development\u003c/em> or her recent steamy cameo on \u003ca href=\"http://ww2.kqed.org/pop/2015/03/16/broad-city-keyboard-just-made-your-texts-way-more-exciting/\">\u003cem>Broad City\u003c/em>\u003c/a>, but did you know she’s also an artist? It’s true, and her work seems more genuine and is less conceptual than art by other actors who have dipped into the gallery game (ahem, James Franco and Shia LaBeouf). Shawkat has shown her work internationally and, though it’s possible her acting gigs are infringing on her studio time since she doesn’t list any recent shows on \u003ca href=\"mutantalia.com\" target=\"_blank\" rel=\"noopener\">her website\u003c/a>, she does have some funny drawings for sale. Maybe you should invest in a Maeby original at \u003ca href=\"mutantalia.com\" target=\"_blank\" rel=\"noopener\">mutantalia.com\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">‘Happy Valley’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G_YjBW5YWvI'\n title='//www.youtube.com/embed/G_YjBW5YWvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p1\">After months of having this UK crime drama relentlessly “suggested” to me by Netflix, I finally cracked. What initially seems like a rural caper about a harebrained criminal scheme going awry gets horribly dark and nasty with terrifying speed (full disclosure: I binge-watched all six episodes in one night). It’s got an incredibly good, vanity-free lead performance from \u003ca href=\"http://en.wikipedia.org/wiki/Sarah_Lancashire\">\u003cspan class=\"s1\">Sarah Lancashire\u003c/span>\u003c/a> (never write off former soap stars!), superbly drawn female characters by the bucketload, and \u003ca href=\"http://www.bbc.co.uk/programmes/articles/2FypLJlVY9cmSVXGkPwG6lr/tommys-just-as-real-as-every-other-character\">\u003cspan class=\"s1\">one of the most \u003c/span>\u003cspan class=\"s2\">\u003ci>truly\u003c/i>\u003c/span>\u003cspan class=\"s1\"> hateful villains\u003c/span>\u003c/a> ever — kind of remarkable in a TV landscape saturated with increasingly outlandish mass murderers. Violence is used so sparingly that when it appears, it’s genuinely shocking, with one pivotal scene that’s the scariest thing I’ve seen onscreen in a long time. So many UK crime dramas strain to look and sound “American” (looking at you, \u003ca href=\"http://variety.com/2014/tv/news/luther-idris-elba-bbc-america-new-miniseries-1201360461/\">\u003cspan class=\"s1\">\u003ci>Luther\u003c/i>\u003c/span>\u003c/a>), and I’m so glad this one doesn’t. It’s miles better than \u003ci>Broadchurch\u003c/i>, and it might just (whisper it) be as good as \u003ci>The Fall\u003c/i>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">\u003cem>High Maintenance\u003c/em>\u003c/h2>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">Vimeo’s foray into the world of original programming brings us the fabulous escapades of a nameless weed delivery man who encounters neurotic, awkward and hilariously real clients throughout Brooklyn. It isn’t a classic stoner comedy — rather, it’s a parody on the life of city dwellers, and a quick look into people’s motivations, habits and homes. Husband-and-wife team Katja Blichfeld and Ben Sinclair have skillfully repurposed their casting, acting and directing expertise from big shows like \u003cem>30 Rock\u003c/em> into an internet darling with cameos from folks like \u003ca href=\"https://vimeo.com/channels/highmaintenance/90011431\">\u003cspan class=\"s1\">Dan Stevens\u003c/span>\u003c/a> (Matthew Crawley from \u003cem>Downton Abbey\u003c/em>) and \u003ca href=\"https://vimeo.com/64447340\">\u003cspan class=\"s1\">Hannibal Buress\u003c/span>\u003c/a>. Before Vimeo came on the scene, the first episodes (still free online) were totally DIY — self-funded, and filmed in Blichfeld and Sinclair’s apartment with friends. Check out the episode above, which follows what happens when two Fleet Foxes-listening, Kombucha-drinking hippies find a mouse in a glue trap.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Gabe Meline\u003c/i>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">What is This Thing Called?\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-10483363\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM.png\" alt=\"Screen shot 2015-03-18 at 6.04.21 PM\" width=\"509\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM.png 509w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM-400x321.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Screen-shot-2015-03-18-at-6.04.21-PM-320x257.png 320w\" sizes=\"(max-width: 509px) 100vw, 509px\">\u003c/p>\n\u003cp class=\"p1\">I can’t tell you how many times in my life I’ve seen a stray metal object on the ground, clearly having once served a purpose now unidentifiable out of context, and thought to myself, “What is that thing called?” So it’s a very oddly satisfying experience looking at pictures of such objects, over and over, captioned by the same question. The Tumblr ‘\u003ca href=\"http://whatisthisthingcalled.com/\">What is This Thing Called?\u003c/a>’ doesn’t serve to provide any answers, which seems antithetical to the entire idea of the internet. What it \u003cem>does\u003c/em> provide is a reassurance that curiosity is fine on its own, and need not be consummated with knowledge. I like that idea.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over former celebrity couples, wizards turned feminists, computer games of yore, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Who Runs The World? Emma Watson!\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=tWejyY4CPn4\u003c/p>\n\u003cp>Emma Watson grew up playing Hermione Granger in the \u003cem>Harry Potter\u003c/em> films, but instead of going down the dark path trampled by most child stars, she went on to study at Brown and Oxford, continue acting in pretty good movies, and become the \u003ca href=\"http://www.unwomen.org/en/partnerships/goodwill-ambassadors/emma-watson\" target=\"_blank\" rel=\"noopener\">UN Women Goodwill Ambassador\u003c/a> (nbd!). In her role at the UN, she’s been making waves with her speeches about the need for gender equality. I watched her hour-long Q&A on the topic at the beginning of the week and can’t stop thinking about how simply and eloquently she captured the spirit of feminism.\u003c/p>\n\u003cp>Harry Potter fans fell in love with the character of Hermione because she wouldn’t settle for anything less than her full potential; because she never let being “muggle-born” or a girl in a boy’s world hold her back from being a boss; and because she wasn’t afraid of \u003ca href=\"https://www.youtube.com/watch?v=-17GLD1KxkE\">punching the most sinister boy in school right in the face\u003c/a>. These days, Emma Watson doesn’t need to fight sexist jerks with her fists; she’s knocking out inequality with reason, intelligence, and grace. Somewhere out there, Hermione is \u003ca href=\"http://hellogiggles.hellogiggles.netdna-cdn.com/wp-content/uploads/2014/05/15/Its-Leviosa-not-leviosar-Hermione-Granger-GIF.gif\">perfectly pronouncing\u003c/a> “You go, girl!” For the most inspiring quotes from the Q&A and to watch the whole video, \u003ca href=\"http://ww2.kqed.org/pop/emma-watson-most-inspiring-quotes-international-womens-day-facebook-feminism-speech\">head over to KQED Pop\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Old Loves\u003c/h2>\n\u003cfigure id=\"attachment_10462664\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10462664\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500.png\" alt=\"Liam Neeson & Helen Mirren were a thing?!\" width=\"500\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500-400x306.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500-320x245.png 320w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Liam Neeson & Helen Mirren were a thing?!\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">Pictures of famous people who used to be together but aren’t any more: that’s literally all there is to \u003ca href=\"http://oldloves.tumblr.com/\">\u003cspan class=\"s1\">Old Loves\u003c/span>\u003c/a>, and yet scrolling through this seemingly-endless Tumblr represents the closest I’ve come to a serious addiction. Vintage fashions, visible\u003ca href=\"http://oldloves.tumblr.com/post/84265742343/robert-downey-jr-sarah-jessica-parker-1983\">\u003cspan class=\"s1\"> substance abuse issues\u003c/span>\u003c/a>, Liv Tyler’s \u003ca href=\"http://oldloves.tumblr.com/post/86165441218\">\u003cspan class=\"s1\">awkward youth\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/88632818092/the2000sblog-britney-spears-and-justin\">\u003cspan class=\"s1\">Britney and J.T\u003c/span>\u003c/a>., Heidi Klum and Seal’s\u003ca href=\"http://oldloves.tumblr.com/post/101099273174/heidi-klum-seal-halloween-2006\">\u003cspan class=\"s1\"> infamous Halloween costumes\u003c/span>\u003c/a>, Kirsten Dunst and Jake Gyllenhaal’s\u003ca href=\"http://oldloves.tumblr.com/post/94112873948/gentle-twig-amycakesdankydank-same-this-is\">\u003cspan class=\"s1\"> miserable lunch\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/110998873798/vanityfair-bill-murray-and-gilda-radner-dancing\">\u003cspan class=\"s1\">Bill Murray and Gilda Radner \u003c/span>\u003c/a>at Studio 54, Cher and Greg Allman’s \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/post/96668377135/cher-gregg-allman\">hair-union\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/tagged/johnny+depp\">\u003cspan class=\"s1\">Johnny Depp\u003c/span>\u003c/a> and \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/tagged/winona-ryder\">Winona Ryder \u003c/a>(\u003c/span>whether \u003ca href=\"http://oldloves.tumblr.com/post/12636310072/ilanaglazer-nickdrake-johnny-depp-winona\">\u003cspan class=\"s1\">with each other\u003c/span>\u003c/a> or \u003ca href=\"http://oldloves.tumblr.com/post/82164327257/winona-ryder-matt-damon-at-the-golden-globe\">\u003cspan class=\"s1\">literally\u003c/span>\u003c/a> \u003ca href=\"http://oldloves.tumblr.com/post/96292117060/kate-moss-johnny-depp\">\u003cspan class=\"s1\">everyone\u003c/span>\u003c/a> \u003ca href=\"http://oldloves.tumblr.com/post/13053712334\">\u003cspan class=\"s1\">else\u003c/span>\u003c/a> \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/post/27826888485/johnny-depp-sherilyn-fenn\">in Hollywood\u003c/a>)\u003c/span>\u003c/span> — it’s all here, along with the pleasures of discovering historic couplings you had no idea existed (\u003ca href=\"http://oldloves.tumblr.com/post/98905664253/oldloves-liam-neeson-helen-mirren\">\u003cspan class=\"s1\">Liam Neeson and Helen Mirren\u003c/span>\u003c/a>, seriously?).\u003c/p>\n\u003cp class=\"p1\">It’s not just a reminder that famous people \u003ci>really\u003c/i> like to keep the gene pool shallow, but also a glimpse into a different era of celebrity, where actors looked \u003ca href=\"http://oldloves.tumblr.com/post/81529123712/gwyneth-paltrow-ben-affleck\">\u003cspan class=\"s1\">way less groomed\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/107234953373/susan-sarandon-tim-robbins-circa-1989\">\u003cspan class=\"s1\">paparazzi shots\u003c/span>\u003c/a> were unguarded and \u003ca href=\"http://oldloves.tumblr.com/post/94994030522/gary-oldman-isabella-rossellini\">\u003cspan class=\"s1\">Gary Oldman and Isabella Rossellini shared daschunds\u003c/span>\u003c/a>. So if, like me, you’re the kind of person who loves buying disconcertingly-stiff back issues of \u003ci>Us Weekly\u003c/i> from garage sales that have clearly spent the last decade in someone’s bathroom, call in sick tomorrow and give this Tumblr the time it deserves.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Barry McGee’s Needlepoint Carrot\u003c/h2>\n\u003cdiv> \u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10464720\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-800x534.jpeg\" alt=\"kfarrtwistcarrot-1\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-320x214.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>Barry McGee is a Bay Area luminary, renowned for his graffiti-rooted, eye-popping artwork, and it’s no secret that he’s \u003cspan class=\"s1\">\u003ca href=\"http://ww2.kqed.org/arts/2012/08/27/barry_mcgee_at_bampfa/\">one of my favorites\u003c/a>\u003c/span>. One of his clustered installations is currently on view as part of the Oakland Museum’s \u003ca href=\"http://www.museumca.org/exhibit/fertile-ground-art-and-community-ca%20lifornia\">\u003ci>Fertile Ground\u003c/i>\u003c/a> exhibition. It bulges out of the wall like a “pimple,” as the artist has described, and is made up of countless framed paintings, photographs, or found objects.\u003c/p>\n\u003cp>The arrangement is different every time it’s exhibited, and this time I noticed an unexpected needlepoint carrot in the mix. This little stitched snack left me curious. Where did he find that carrot? Who made it? Is it a carrot or a yam? On a recent museum visit for a KQED video shoot, I geekily pointed it out to museum staff and anyone else who would listen. \u003cem>Fertile Ground\u003c/em> is open for another month, plenty of time for you to go find it!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/avatar-pic-e1426011256947.jpg\" alt=\"harold check\" width=\"116\" height=\"116\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/hcheck/\">\u003ci>Harold Check\u003c/i>\u003c/a>\u003cbr>Freelancer, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The Internet Archive’s MS-DOS Games Collection\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=x1bcza1uAYs\u003c/p>\n\u003cp>There’s a specific kind of nostalgia (the Germans probably have a word for it) that combines wistful affection with a head-smacking epiphany of long-forgotten excess. Boy howdy, did I have that feeling when I came across the \u003ca href=\"https://archive.org/details/softwarelibrary_msdos_games\">Internet Archive’s MS-DOS Games collection\u003c/a>.\u003c/p>\n\u003cp>Sure, the titles and launch-screen images would have been plenty to keep me endlessly scrolling through the 2,600+ games, mostly from the ’80s and ’90s. I could have spent hours chuckling over the days and weeks I “wasted” trying to master the timing of \u003cem>\u003ca href=\"https://archive.org/details/msdos_Prince_of_Persia_1990\">Prince of Persia\u003c/a>\u003c/em> (those skidding stops!), or telling myself I’d just design one more level of \u003cem>\u003ca href=\"https://archive.org/details/msdos_Lode_Runner_1983_1983\">Lode Runner\u003c/a>\u003c/em>. But, no, the geniuses behind the Internet Archive, completists that they are, have much more in store.\u003c/p>\n\u003cp>All of these games are \u003cem>playable\u003c/em>. In your browser. Yes, some are hamstrung by antiquated control schemes, and others are just shareware samples, not full games, but I would suggest that the point isn’t to relive the full experience of beating \u003cem>\u003ca href=\"https://archive.org/details/msdos_Castle_Wolfenstein_1984\">Castle Wolfenstein\u003c/a>\u003c/em>, but just to get the overpowering taste back in your mouth.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over former celebrity couples, wizards turned feminists, computer games of yore, and more!\u003c/p>\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Who Runs The World? Emma Watson!\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tWejyY4CPn4'\n title='//www.youtube.com/embed/tWejyY4CPn4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Emma Watson grew up playing Hermione Granger in the \u003cem>Harry Potter\u003c/em> films, but instead of going down the dark path trampled by most child stars, she went on to study at Brown and Oxford, continue acting in pretty good movies, and become the \u003ca href=\"http://www.unwomen.org/en/partnerships/goodwill-ambassadors/emma-watson\" target=\"_blank\" rel=\"noopener\">UN Women Goodwill Ambassador\u003c/a> (nbd!). In her role at the UN, she’s been making waves with her speeches about the need for gender equality. I watched her hour-long Q&A on the topic at the beginning of the week and can’t stop thinking about how simply and eloquently she captured the spirit of feminism.\u003c/p>\n\u003cp>Harry Potter fans fell in love with the character of Hermione because she wouldn’t settle for anything less than her full potential; because she never let being “muggle-born” or a girl in a boy’s world hold her back from being a boss; and because she wasn’t afraid of \u003ca href=\"https://www.youtube.com/watch?v=-17GLD1KxkE\">punching the most sinister boy in school right in the face\u003c/a>. These days, Emma Watson doesn’t need to fight sexist jerks with her fists; she’s knocking out inequality with reason, intelligence, and grace. Somewhere out there, Hermione is \u003ca href=\"http://hellogiggles.hellogiggles.netdna-cdn.com/wp-content/uploads/2014/05/15/Its-Leviosa-not-leviosar-Hermione-Granger-GIF.gif\">perfectly pronouncing\u003c/a> “You go, girl!” For the most inspiring quotes from the Q&A and to watch the whole video, \u003ca href=\"http://ww2.kqed.org/pop/emma-watson-most-inspiring-quotes-international-womens-day-facebook-feminism-speech\">head over to KQED Pop\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Old Loves\u003c/h2>\n\u003cfigure id=\"attachment_10462664\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10462664\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500.png\" alt=\"Liam Neeson & Helen Mirren were a thing?!\" width=\"500\" height=\"383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500-400x306.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/tumblr_llz4rdWvh41qdlpxso1_500-320x245.png 320w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Liam Neeson & Helen Mirren were a thing?!\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">Pictures of famous people who used to be together but aren’t any more: that’s literally all there is to \u003ca href=\"http://oldloves.tumblr.com/\">\u003cspan class=\"s1\">Old Loves\u003c/span>\u003c/a>, and yet scrolling through this seemingly-endless Tumblr represents the closest I’ve come to a serious addiction. Vintage fashions, visible\u003ca href=\"http://oldloves.tumblr.com/post/84265742343/robert-downey-jr-sarah-jessica-parker-1983\">\u003cspan class=\"s1\"> substance abuse issues\u003c/span>\u003c/a>, Liv Tyler’s \u003ca href=\"http://oldloves.tumblr.com/post/86165441218\">\u003cspan class=\"s1\">awkward youth\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/88632818092/the2000sblog-britney-spears-and-justin\">\u003cspan class=\"s1\">Britney and J.T\u003c/span>\u003c/a>., Heidi Klum and Seal’s\u003ca href=\"http://oldloves.tumblr.com/post/101099273174/heidi-klum-seal-halloween-2006\">\u003cspan class=\"s1\"> infamous Halloween costumes\u003c/span>\u003c/a>, Kirsten Dunst and Jake Gyllenhaal’s\u003ca href=\"http://oldloves.tumblr.com/post/94112873948/gentle-twig-amycakesdankydank-same-this-is\">\u003cspan class=\"s1\"> miserable lunch\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/110998873798/vanityfair-bill-murray-and-gilda-radner-dancing\">\u003cspan class=\"s1\">Bill Murray and Gilda Radner \u003c/span>\u003c/a>at Studio 54, Cher and Greg Allman’s \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/post/96668377135/cher-gregg-allman\">hair-union\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/tagged/johnny+depp\">\u003cspan class=\"s1\">Johnny Depp\u003c/span>\u003c/a> and \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/tagged/winona-ryder\">Winona Ryder \u003c/a>(\u003c/span>whether \u003ca href=\"http://oldloves.tumblr.com/post/12636310072/ilanaglazer-nickdrake-johnny-depp-winona\">\u003cspan class=\"s1\">with each other\u003c/span>\u003c/a> or \u003ca href=\"http://oldloves.tumblr.com/post/82164327257/winona-ryder-matt-damon-at-the-golden-globe\">\u003cspan class=\"s1\">literally\u003c/span>\u003c/a> \u003ca href=\"http://oldloves.tumblr.com/post/96292117060/kate-moss-johnny-depp\">\u003cspan class=\"s1\">everyone\u003c/span>\u003c/a> \u003ca href=\"http://oldloves.tumblr.com/post/13053712334\">\u003cspan class=\"s1\">else\u003c/span>\u003c/a> \u003cspan class=\"s1\">\u003ca href=\"http://oldloves.tumblr.com/post/27826888485/johnny-depp-sherilyn-fenn\">in Hollywood\u003c/a>)\u003c/span>\u003c/span> — it’s all here, along with the pleasures of discovering historic couplings you had no idea existed (\u003ca href=\"http://oldloves.tumblr.com/post/98905664253/oldloves-liam-neeson-helen-mirren\">\u003cspan class=\"s1\">Liam Neeson and Helen Mirren\u003c/span>\u003c/a>, seriously?).\u003c/p>\n\u003cp class=\"p1\">It’s not just a reminder that famous people \u003ci>really\u003c/i> like to keep the gene pool shallow, but also a glimpse into a different era of celebrity, where actors looked \u003ca href=\"http://oldloves.tumblr.com/post/81529123712/gwyneth-paltrow-ben-affleck\">\u003cspan class=\"s1\">way less groomed\u003c/span>\u003c/a>, \u003ca href=\"http://oldloves.tumblr.com/post/107234953373/susan-sarandon-tim-robbins-circa-1989\">\u003cspan class=\"s1\">paparazzi shots\u003c/span>\u003c/a> were unguarded and \u003ca href=\"http://oldloves.tumblr.com/post/94994030522/gary-oldman-isabella-rossellini\">\u003cspan class=\"s1\">Gary Oldman and Isabella Rossellini shared daschunds\u003c/span>\u003c/a>. So if, like me, you’re the kind of person who loves buying disconcertingly-stiff back issues of \u003ci>Us Weekly\u003c/i> from garage sales that have clearly spent the last decade in someone’s bathroom, call in sick tomorrow and give this Tumblr the time it deserves.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362345\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362345 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/kfar.jpg\" alt=\"kfar\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/kfar-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/arts/author/kfarr/\">Kristin Farr\u003c/a>\u003c/i> \u003cbr> Producer, \u003cbr> \u003ca href=\"http://ww2.kqed.org/artschool/\" target=\"_blank\" rel=\"noopener\">Art School\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Barry McGee’s Needlepoint Carrot\u003c/h2>\n\u003cdiv> \u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10464720\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-800x534.jpeg\" alt=\"kfarrtwistcarrot-1\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1-320x214.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/kfarrtwistcarrot-1.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>Barry McGee is a Bay Area luminary, renowned for his graffiti-rooted, eye-popping artwork, and it’s no secret that he’s \u003cspan class=\"s1\">\u003ca href=\"http://ww2.kqed.org/arts/2012/08/27/barry_mcgee_at_bampfa/\">one of my favorites\u003c/a>\u003c/span>. One of his clustered installations is currently on view as part of the Oakland Museum’s \u003ca href=\"http://www.museumca.org/exhibit/fertile-ground-art-and-community-ca%20lifornia\">\u003ci>Fertile Ground\u003c/i>\u003c/a> exhibition. It bulges out of the wall like a “pimple,” as the artist has described, and is made up of countless framed paintings, photographs, or found objects.\u003c/p>\n\u003cp>The arrangement is different every time it’s exhibited, and this time I noticed an unexpected needlepoint carrot in the mix. This little stitched snack left me curious. Where did he find that carrot? Who made it? Is it a carrot or a yam? On a recent museum visit for a KQED video shoot, I geekily pointed it out to museum staff and anyone else who would listen. \u003cem>Fertile Ground\u003c/em> is open for another month, plenty of time for you to go find it!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/avatar-pic-e1426011256947.jpg\" alt=\"harold check\" width=\"116\" height=\"116\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/hcheck/\">\u003ci>Harold Check\u003c/i>\u003c/a>\u003cbr>Freelancer, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The Internet Archive’s MS-DOS Games Collection\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x1bcza1uAYs'\n title='//www.youtube.com/embed/x1bcza1uAYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a specific kind of nostalgia (the Germans probably have a word for it) that combines wistful affection with a head-smacking epiphany of long-forgotten excess. Boy howdy, did I have that feeling when I came across the \u003ca href=\"https://archive.org/details/softwarelibrary_msdos_games\">Internet Archive’s MS-DOS Games collection\u003c/a>.\u003c/p>\n\u003cp>Sure, the titles and launch-screen images would have been plenty to keep me endlessly scrolling through the 2,600+ games, mostly from the ’80s and ’90s. I could have spent hours chuckling over the days and weeks I “wasted” trying to master the timing of \u003cem>\u003ca href=\"https://archive.org/details/msdos_Prince_of_Persia_1990\">Prince of Persia\u003c/a>\u003c/em> (those skidding stops!), or telling myself I’d just design one more level of \u003cem>\u003ca href=\"https://archive.org/details/msdos_Lode_Runner_1983_1983\">Lode Runner\u003c/a>\u003c/em>. But, no, the geniuses behind the Internet Archive, completists that they are, have much more in store.\u003c/p>\n\u003cp>All of these games are \u003cem>playable\u003c/em>. In your browser. Yes, some are hamstrung by antiquated control schemes, and others are just shareware samples, not full games, but I would suggest that the point isn’t to relive the full experience of beating \u003cem>\u003ca href=\"https://archive.org/details/msdos_Castle_Wolfenstein_1984\">Castle Wolfenstein\u003c/a>\u003c/em>, but just to get the overpowering taste back in your mouth.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "OBSESSED: Everything We Can't Stop Talking About This Week",
"headTitle": "OBSESSED: Everything We Can’t Stop Talking About This Week | KQED",
"content": "\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over the world’s worst Kickstarter campaigns, drag queens, a nasty little short story, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Kickended\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-10442525 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Photodazzle-800x409.jpeg\" alt=\"Photodazzle\" width=\"800\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-800x409.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-400x204.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-768x393.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-320x164.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle.jpeg 1084w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If you’re like me, you couldn’t stop grousing when Kickstarter became a thing and your friends started begging for money on the internet so their band could go on tour. Or so they could start a kombucha company. Or so they could write a book, design clothes, develop an app, or adopt baby goats or whatever. Somehow, this unmitigated gall clogging everyone’s Facebook feed managed to be accepted as “innovative disruption,” a “way to connect with fans,” or “a new platform for creativity.” I still call it déclassé, which is why the site \u003ca href=\"http://kickended.com/archive\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a> provides me no end of catharsis. A hilarious collection of failed Kickstarter campaigns that ended without receiving any funding at all — like, not even one dime — \u003ca href=\"http://kickended.com/archive\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a> is a window into the truly terrible ideas conceived in the world and the audacity of those who post them to Kickstarter.\u003c/p>\n\u003cp>Pictured above is a campaign asking for $10,000 to \u003ca href=\"http://kickended.com/projects/1306378479/\" target=\"_blank\" rel=\"noopener\">glue rhinestones on existing photos\u003c/a>. Another campaign wants $10,000 to \u003ca href=\"http://kickended.com/projects/744123164/\" target=\"_blank\" rel=\"noopener\">put jewelry inside of candles\u003c/a>. Another campaign declares that $15,000 is needed to carry out God’s musical will (“God blessed me with a gift for music… \u003ca href=\"http://kickended.com/projects/1449094302/\" target=\"_blank\" rel=\"noopener\">but unfortunately it takes money\u003c/a>”). There are campaigns for “\u003ca href=\"http://kickended.com/projects/1490938965/\" target=\"_blank\" rel=\"noopener\">the safest baby diapur out there\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/370368235/\" target=\"_blank\" rel=\"noopener\">Leif Garrett – The Musical\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/1544769179/\" target=\"_blank\" rel=\"noopener\">Were gonna rap with 2 Chainz\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/crickitrene/\" target=\"_blank\" rel=\"noopener\">‘Born to Tears’ a book of life changing poetry\u003c/a>,” and oh, so much more, all very misguided and all 100% unfunded.\u003c/p>\n\u003cp>Go to \u003ca href=\"http://kickended.com/projects/530164292/\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a>, repeatedly click “\u003ca href=\"http://kickended.com/projects/530164292/\" target=\"_blank\" rel=\"noopener\">Random Campaign\u003c/a>” up top, and lose hours of your life to internet schadenfreude.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Kyle Abraham\u003c/h2>\n\u003cp>https://vimeo.com/55470300\u003c/p>\n\u003cp class=\"p1\">This week, I’m obsessed with dancer, choreographer and MacArthur Fellow \u003ca href=\"http://abrahaminmotion.org/\">\u003cspan class=\"s1\">Kyle Abraham\u003c/span>\u003c/a>. I will preface this with the fact that I am not usually a “dance person,” but after seeing \u003cem>\u003ca href=\"http://www.ybca.org/kyle-abraham-pavement\">Pavement\u003c/a>,\u003c/em> Abraham’s show at YBCA, I was super inspired by his \u003cspan class=\"s2\">politically minded, genre-bending \u003c/span>style of dance theater that consistently looks at the state of Black America, civil rights and freedom. His choreography and sound-scaping are mesmerizing and immersive, feeling more like a play than a dance performance, blending hip-hop sensibilities and modern dance to a soundtrack of opera, blues, electronica and even N.W.A. The \u003cem>Pavement\u003c/em> tour has left town, but you can still get hooked on Abraham’s work by watching the clip above!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">A Nasty Little Short Story From Hilary Mantel\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10442284\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-800x600.jpeg\" alt=\"assassination-thatcher\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-320x240.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea.jpeg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp class=\"p1\">My history nerd heart is most excited for \u003ca href=\"http://www.pbs.org/wgbh/masterpiece/programs/wolf-hall/\">the BBC adaptation\u003c/a> of Hilary Mantel’s Tudor intrigue-a-thon \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/Wolf_Hall\">Wolf Hall\u003c/a>\u003c/em>. To sate myself until its premiere on U.S. TV next month, I just re-read Mantel’s strangest, most compelling short story from her \u003cem>Assassination of Margaret Thatcher\u003c/em> collection: “\u003ca href=\"http://www.theguardian.com/books/2010/dec/04/winter-break-hilary-mantel-shortstory\">Winter Break\u003c/a>.” Barely skirting 2,000 words, this nasty little shocker about a vacationing couple in their airport cab is what the phrase “\u003ca href=\"http://idioms.thefreedictionary.com/a+sting+in+the+tail\">sting in the tail\u003c/a>” was invented for. \u003c/p>\n\u003cp>Her writing is typically flawless, but something’s up: its revisiting of the frequent Mantel theme of childlessness is so on-the-nose, the inevitable “gotcha” so blatant that I suspect (to borrow a line from \u003ca href=\"https://www.youtube.com/watch?v=QU0SEeQJy0c\">one of my favorite guilty pleasures\u003c/a>) it’s all “so overt it’s covert.” Even on second reading, I can’t quite work out exactly what Mantel is up to here, and I look forward to cracking it one day. \u003ca href=\"http://www.theguardian.com/books/2010/dec/04/winter-break-hilary-mantel-shortstory\">Read “Winter Break” online\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The Return of \u003cem>RuPaul’s Drag Race\u003c/em>\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=IZtIXDy1kz4\u003c/p>\n\u003cp>It’s been nine whole months since a new \u003cem>Drag Race\u003c/em> episode has aired, and this week saw the birth of 14 new drag queens! If you’ve never seen an episode of this show (best described as a cross between \u003cem>America’s Next Top Model,\u003c/em> \u003cem>Project Runway\u003c/em> and \u003cem>Pink Flamingos\u003c/em>), I feel sorry for you and want to help you see the light! The show in a nutshell: drag queens participate in ridiculous challenges (turning \u003ca href=\"http://www.therealstevegray.com/wp-content/uploads/rupauls-drag-race-season6-ep10-joslyn-bride-gremlin.jpg\">straight dudes into brides\u003c/a>, for example), while \u003ca href=\"http://24.media.tumblr.com/9cbbe83bc258709b6a982637a13e8e7d/tumblr_n3olfsfHlC1qlvwnco1_500.gif\">verbally\u003c/a> \u003ca href=\"http://i.imgur.com/PFnJggb.gif\">sparring\u003c/a> with one another. Each week, the bottom two girls are forced to lip-synch to the death.\u003c/p>\n\u003cp>If you don’t think drag is an art form, you’ll change your mind after watching how these men paint their faces and use costume and body illusions to become Amazonian queens. Oh, and did I mention it’s \u003ca href=\"https://www.youtube.com/watch?v=KBqrBnvnlLU\">f-ing hilarious\u003c/a>? I don’t watch other reality shows because this is all of them combined (think of all the space you’ll have on your DVR!). So here’s your mission, should you choose to accept it: marathon all previous six seasons and we’ll meet back here to discuss, okay? Okay.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This week, the KQED Arts gang is freaking out over the world's worst Kickstarter campaigns, drag queens, a nasty little short story, and more!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to \u003cstrong>Obsessed\u003c/strong>, a weekly series featuring everything the KQED Arts gang can’t stop talking about. We’re bringing the conversation from the water cooler to cyberspace! This week, we’re freaking out over the world’s worst Kickstarter campaigns, drag queens, a nasty little short story, and more!\u003c/p>\n\u003cfigure id=\"attachment_10362354\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362354 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg\" alt=\"gabe meline\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/gabe-meline-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ca href=\"http://ww2.kqed.org/arts/author/gmeline/\">\u003ci>Gabe Meline\u003c/i>\u003c/a>\u003cbr> Music Editor, \u003cbr>\u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Kickended\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-10442525 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Photodazzle-800x409.jpeg\" alt=\"Photodazzle\" width=\"800\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-800x409.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-400x204.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-768x393.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle-320x164.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Photodazzle.jpeg 1084w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If you’re like me, you couldn’t stop grousing when Kickstarter became a thing and your friends started begging for money on the internet so their band could go on tour. Or so they could start a kombucha company. Or so they could write a book, design clothes, develop an app, or adopt baby goats or whatever. Somehow, this unmitigated gall clogging everyone’s Facebook feed managed to be accepted as “innovative disruption,” a “way to connect with fans,” or “a new platform for creativity.” I still call it déclassé, which is why the site \u003ca href=\"http://kickended.com/archive\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a> provides me no end of catharsis. A hilarious collection of failed Kickstarter campaigns that ended without receiving any funding at all — like, not even one dime — \u003ca href=\"http://kickended.com/archive\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a> is a window into the truly terrible ideas conceived in the world and the audacity of those who post them to Kickstarter.\u003c/p>\n\u003cp>Pictured above is a campaign asking for $10,000 to \u003ca href=\"http://kickended.com/projects/1306378479/\" target=\"_blank\" rel=\"noopener\">glue rhinestones on existing photos\u003c/a>. Another campaign wants $10,000 to \u003ca href=\"http://kickended.com/projects/744123164/\" target=\"_blank\" rel=\"noopener\">put jewelry inside of candles\u003c/a>. Another campaign declares that $15,000 is needed to carry out God’s musical will (“God blessed me with a gift for music… \u003ca href=\"http://kickended.com/projects/1449094302/\" target=\"_blank\" rel=\"noopener\">but unfortunately it takes money\u003c/a>”). There are campaigns for “\u003ca href=\"http://kickended.com/projects/1490938965/\" target=\"_blank\" rel=\"noopener\">the safest baby diapur out there\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/370368235/\" target=\"_blank\" rel=\"noopener\">Leif Garrett – The Musical\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/1544769179/\" target=\"_blank\" rel=\"noopener\">Were gonna rap with 2 Chainz\u003c/a>,” “\u003ca href=\"http://kickended.com/projects/crickitrene/\" target=\"_blank\" rel=\"noopener\">‘Born to Tears’ a book of life changing poetry\u003c/a>,” and oh, so much more, all very misguided and all 100% unfunded.\u003c/p>\n\u003cp>Go to \u003ca href=\"http://kickended.com/projects/530164292/\" target=\"_blank\" rel=\"noopener\">Kickended\u003c/a>, repeatedly click “\u003ca href=\"http://kickended.com/projects/530164292/\" target=\"_blank\" rel=\"noopener\">Random Campaign\u003c/a>” up top, and lose hours of your life to internet schadenfreude.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362615\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362615 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/siouxsie.jpg\" alt=\"siouxsie\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/siouxsie-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Siouxsie Oki\u003c/i>\u003cbr> Manager, \u003cbr> \u003ca href=\"http://ww2.kqed.org/arts/\" target=\"_blank\" rel=\"noopener\">KQED Arts\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">Kyle Abraham\u003c/h2>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">This week, I’m obsessed with dancer, choreographer and MacArthur Fellow \u003ca href=\"http://abrahaminmotion.org/\">\u003cspan class=\"s1\">Kyle Abraham\u003c/span>\u003c/a>. I will preface this with the fact that I am not usually a “dance person,” but after seeing \u003cem>\u003ca href=\"http://www.ybca.org/kyle-abraham-pavement\">Pavement\u003c/a>,\u003c/em> Abraham’s show at YBCA, I was super inspired by his \u003cspan class=\"s2\">politically minded, genre-bending \u003c/span>style of dance theater that consistently looks at the state of Black America, civil rights and freedom. His choreography and sound-scaping are mesmerizing and immersive, feeling more like a play than a dance performance, blending hip-hop sensibilities and modern dance to a soundtrack of opera, blues, electronica and even N.W.A. The \u003cem>Pavement\u003c/em> tour has left town, but you can still get hooked on Abraham’s work by watching the clip above!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cfigure id=\"attachment_10362357\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10362357 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/profile-pic.jpg\" alt=\"profile pic\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/profile-pic-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Carly Severn\u003c/i>\u003cbr> Social Media Specialist, \u003ca href=\"https://www.facebook.com/KQED\" target=\"_blank\" rel=\"noopener\">KQED\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">A Nasty Little Short Story From Hilary Mantel\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-10442284\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-800x600.jpeg\" alt=\"assassination-thatcher\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea-320x240.jpeg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/assassination-thatcher-4a7fcbd8c880069fbe7805394f536599be9d32ea.jpeg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp class=\"p1\">My history nerd heart is most excited for \u003ca href=\"http://www.pbs.org/wgbh/masterpiece/programs/wolf-hall/\">the BBC adaptation\u003c/a> of Hilary Mantel’s Tudor intrigue-a-thon \u003cem>\u003ca href=\"http://en.wikipedia.org/wiki/Wolf_Hall\">Wolf Hall\u003c/a>\u003c/em>. To sate myself until its premiere on U.S. TV next month, I just re-read Mantel’s strangest, most compelling short story from her \u003cem>Assassination of Margaret Thatcher\u003c/em> collection: “\u003ca href=\"http://www.theguardian.com/books/2010/dec/04/winter-break-hilary-mantel-shortstory\">Winter Break\u003c/a>.” Barely skirting 2,000 words, this nasty little shocker about a vacationing couple in their airport cab is what the phrase “\u003ca href=\"http://idioms.thefreedictionary.com/a+sting+in+the+tail\">sting in the tail\u003c/a>” was invented for. \u003c/p>\n\u003cp>Her writing is typically flawless, but something’s up: its revisiting of the frequent Mantel theme of childlessness is so on-the-nose, the inevitable “gotcha” so blatant that I suspect (to borrow a line from \u003ca href=\"https://www.youtube.com/watch?v=QU0SEeQJy0c\">one of my favorite guilty pleasures\u003c/a>) it’s all “so overt it’s covert.” Even on second reading, I can’t quite work out exactly what Mantel is up to here, and I look forward to cracking it one day. \u003ca href=\"http://www.theguardian.com/books/2010/dec/04/winter-break-hilary-mantel-shortstory\">Read “Winter Break” online\u003c/a>!\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10348539\" class=\"wp-caption alignleft\" style=\"max-width: 116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10348539 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg\" alt=\"Emmanuel Head\" width=\"116\" height=\"116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head.jpg 116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Emmanuel-Head-75x75.jpg 75w\" sizes=\"(max-width: 116px) 100vw, 116px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>\u003ca href=\"http://ww2.kqed.org/pop/author/ehapsis/\">Emmanuel Hapsis\u003c/a>\u003c/i>\u003cbr> Editor, \u003ca href=\"http://ww2.kqed.org/pop/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"inside text\" style=\"width: 700px;float: left\">\n\u003ch2 style=\"text-align: center\">The Return of \u003cem>RuPaul’s Drag Race\u003c/em>\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IZtIXDy1kz4'\n title='//www.youtube.com/embed/IZtIXDy1kz4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s been nine whole months since a new \u003cem>Drag Race\u003c/em> episode has aired, and this week saw the birth of 14 new drag queens! If you’ve never seen an episode of this show (best described as a cross between \u003cem>America’s Next Top Model,\u003c/em> \u003cem>Project Runway\u003c/em> and \u003cem>Pink Flamingos\u003c/em>), I feel sorry for you and want to help you see the light! The show in a nutshell: drag queens participate in ridiculous challenges (turning \u003ca href=\"http://www.therealstevegray.com/wp-content/uploads/rupauls-drag-race-season6-ep10-joslyn-bride-gremlin.jpg\">straight dudes into brides\u003c/a>, for example), while \u003ca href=\"http://24.media.tumblr.com/9cbbe83bc258709b6a982637a13e8e7d/tumblr_n3olfsfHlC1qlvwnco1_500.gif\">verbally\u003c/a> \u003ca href=\"http://i.imgur.com/PFnJggb.gif\">sparring\u003c/a> with one another. Each week, the bottom two girls are forced to lip-synch to the death.\u003c/p>\n\u003cp>If you don’t think drag is an art form, you’ll change your mind after watching how these men paint their faces and use costume and body illusions to become Amazonian queens. Oh, and did I mention it’s \u003ca href=\"https://www.youtube.com/watch?v=KBqrBnvnlLU\">f-ing hilarious\u003c/a>? I don’t watch other reality shows because this is all of them combined (think of all the space you’ll have on your DVR!). So here’s your mission, should you choose to accept it: marathon all previous six seasons and we’ll meet back here to discuss, okay? Okay.\u003c/p>\n\u003c/div>\n\u003c/div>\n\u003cp>Want more? \u003ca href=\"http://ww2.kqed.org/arts/tag/obsessed/\" target=\"_blank\" rel=\"noopener\">Check out our past obsessions\u003c/a>!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"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.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
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},
"radiolab": {
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"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.",
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},
"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",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
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