Bring On The Camp: Met Gala Exhibition Explores Camp In Fashion
I Thought I Didn't Like Ballet. Then I Saw Arthur Pita's 'Björk Ballet'
Bjork Unveils Videos From Her MoMA Exhibit, Including a 360 Degree Virtual Reality Experience
Sacramento's Death Grips Drop Surprise Album with Bjork
The Lost Art of Music Video Morphing
R. Kelly Plus Bjork and Other Unexpected Musical Marriages
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An innate sense of camp—the aesthetic that’s being celebrated in the new fashion mega-exhibit at the Metropolitan Museum of Art’s Costume Institute, \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2019/camp-notes-on-fashion\" target=\"_blank\" rel=\"noopener\">\u003cem>Camp: Notes on Fashion\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Think Björk’s famous 2001 “swan dress,” which is in the show, and Gaga’s unforgettable 2010 raw meat dress, which isn’t (it was real meat, after all). But lest you think camp is only artifice and theatricality, flamboyance and a desire to shock, Met curator Andrew Bolton wants you to think again.\u003c/p>\n\u003cp>“People are very quick to dismiss camp as being trite, glib, frivolous,” Bolton said in a weekend interview as he was putting finishing touches on the exhibit, which launches Monday evening at the star-studded Met Gala, to be co-chaired by Gaga herself, along with Serena Williams, Harry Styles, Gucci’s Alessandro Michele, and of course Vogue editor Anna Wintour.\u003c/p>\n\u003cfigure id=\"attachment_111635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111635\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Camp-GettyImages-1131339052-800-800x534.jpg\" alt=\"General view of the Press Event for The Costume Institute's spring 2019 exhibition "Camp: Notes on Fashion" on February 22, 2019 in Milan, Italy. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-GettyImages-1131339052-800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-GettyImages-1131339052-800-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-GettyImages-1131339052-800-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">General view of the Press Event for The Costume Institute's spring 2019 exhibition \"Camp: Notes on Fashion\" on February 22, 2019 in Milan, Italy. \u003ccite>(Photo by Vittorio Zunino Celotto/Getty Images for The Metropolitan Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But it actually has a lot of history, it’s really serious, it’s political—and it’s tragic too, disguised as humor,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibit is built around author Susan Sontag’s 1964 “Notes on ‘Camp,’” a 58-point essay which she dedicated to Oscar Wilde, the 19th-century poet and playwright whose camp sensibility is also featured in the show. Camp “is not a natural mode of sensibility,” she wrote. “The essence ... is its love of the unnatural, of artifice and exaggeration.”\u003c/p>\n\u003cfigure id=\"attachment_111666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111666\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Lady-Gaga-GettyImages-1147407843-800x555.jpg\" alt=\"Lady Gaga and Brandon Maxwell attend The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Lady-Gaga-GettyImages-1147407843.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Lady-Gaga-GettyImages-1147407843-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Lady-Gaga-GettyImages-1147407843-768x533.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lady Gaga and Brandon Maxwell attend The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She also called camp “something of a private code.” Bolton notes that in later years, it became mainstream, to the point where it lost much of its subversive meaning. Originating in gay culture, it slowly became assimilated into the culture at large along with other parts of gay culture, he says.\u003c/p>\n\u003cp>But every so often camp comes back as a powerful influence in fashion, Bolton says, and he thinks it’s having a new moment now, because it always returns at a time of political polarization and instability.\u003c/p>\n\u003cp>At a press preview on Monday, Bolton told the crowd that since he chose the subject of “camp,” everyone’s been asking two questions: “Why camp?” and “What IS camp?”\u003c/p>\n\u003cp>And so the exhibit, which features some 250 items, begins with history—and a grammar lesson. The term “camp” was first used as a French verb—\u003cem>se camper\u003c/em>, or to flaunt—in the 17th century. In a 1671 Moliere play, the character Scapin tells a fellow servant to “Camp about on one leg. Put your hand on your hip. Wear a furious look. Strut about like a drama king.”\u003c/p>\n\u003cfigure id=\"attachment_111637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111637\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/800px-Louis_XIV_of_France-800x1137.jpg\" alt=\"Portrait of King Louis XIV by Hyacinth Rigaud, 1701 at the Musée du Louvre, Paris. \" width=\"800\" height=\"1137\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/800px-Louis_XIV_of_France.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/800px-Louis_XIV_of_France-160x227.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/800px-Louis_XIV_of_France-768x1092.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of King Louis XIV by Hyacinth Rigaud, 1701 at the Musée du Louvre, Paris.\u003c/figcaption>\u003c/figure>\n\u003cp>To remind us of one such drama king, there’s Louis XIV, in his official portrait: one leg in front, hand on hip, modeling his massive royal cloak, along with silk stockings and red-heeled shoes.\u003c/p>\n\u003cp>The exhibit then takes us from the verb to the adjective, “campish,” which had gay connotations in the 19th century, and then to the noun, where camp first enters a Victorian dictionary in 1909, defined as “actions and gestures of exaggerated emphasis. Probably from the French.”\u003c/p>\n\u003cp>Then comes the fashion. There’s “naive camp,” which is intended to be serious but failing, versus “deliberate camp,” intended to be, well, campy.\u003c/p>\n\u003cp>There are enormous feathered dresses—Sontag wrote that camp was “a woman walking around in a dress made of three million feathers”—by Armani and by Jeremy Scott, the latter surrounded by scores of attached butterflies. Scott, a specialist in camp, also is represented by a dress of dollar bills, and his McDonald’s-themed outfits for Moschino, where he serves as creative director.\u003c/p>\n\u003cp>From John Galliano, there are dresses that seem made of newspaper clippings and packing tape. And because the Palace of Versailles is seen as “a sort of camp [Garden of] Eden,” there’s a section of Versailles-style gowns by designers like Franco Moschino and Vivienne Westwood.\u003c/p>\n\u003cp>“Camp is ‘Swan Lake,’” Sontag wrote, so we also have Bjork’s famous swan dress by designer Marjan Pejoski, the bird’s long neck curving over the shoulder.\u003c/p>\n\u003cp>Representing what Sontag called “the convertibility of ‘man’ and ‘woman,’” designer Thom Browne contributes a man’s wedding outfit that combines a black tuxedo with a white filmy skirt.\u003c/p>\n\u003cp>And maybe there isn’t a Lady Gaga meat dress, but there’s a Jeremy Scott “prosciutto dress” (not real, this time), and his wacky TV dinner cape—with carrots, peas and corn on one side, mashed potatoes with butter on the other (they’re fake too, thankfully).\u003c/p>\n\u003cp>Because camp “sees everything in quotation marks” (Sontag again), there is designer Virgil Abloh’s 2018 little black dress that says “Little Black Dress,” with boots that say “For Walking.”\u003c/p>\n\u003cp>And there’s a gigantic birthday cake-like dress of cascading pink tulle by Viktor & Rolfe, which says “Less is More”—because camp is, above all, about irony.\u003c/p>\n\u003cp>Bolton says he started thinking about camp two years ago when mounting his show on Rei Kawakubo of Comme des Garcons. He reread Sontag’s essay and was struck by how relevant it felt.\u003c/p>\n\u003cp>He was also inspired to mark the 50th anniversary this year of the 1969 Stonewall riots, a landmark moment in the history of gay rights.\u003c/p>\n\u003cfigure id=\"attachment_111638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111638\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Camp-2-GettyImages-1131338963-800x534.jpg\" alt=\"General view of the Press Event for The Costume Institute's spring 2019 exhibition "Camp: Notes on Fashion" on February 22, 2019 in Milan, Italy. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-2-GettyImages-1131338963.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-2-GettyImages-1131338963-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-2-GettyImages-1131338963-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">General view of the Press Event for The Costume Institute's spring 2019 exhibition \"Camp: Notes on Fashion\" on February 22, 2019 in Milan, Italy. \u003ccite>(Vittorio Zunino Celotto/Getty Images for The Metropolitan Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bolton notes that some designers have always embraced camp—Moschino, Scott, Marc Jacobs and Anna Sui, for example. “But what you’re seeing now is other designers adopting it, like Valentino, Armani. That’s when it shifts, when it’s going beyond a handful to a broader group.”\u003c/p>\n\u003cp>When the show opens to the public on Thursday, Bolton hopes visitors will be able to look beyond camp’s formal characteristics—irony, parody, artificiality and extravagance, to name a few—and see its broader meaning.\u003c/p>\n\u003cp>“It’s all of that,” he acknowledges. “But it’s much more.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Met Gala pre-show begins at 5 p.m. EST on Monday, May 6. E!'s “Live From the Red Carpet,” will broadcast four hours of camp-tastic celebrity fashion inspired by the exhibition. Streaming also available on Hulu Live TV.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Think Björk’s famous 2001 “swan dress,” which is in the show, and Gaga’s unforgettable 2010 raw meat dress, which isn’t (it was real meat, after all.) But lest you think camp is only artifice and theatricality, flamboyance and a desire to shock, Met curator wants you to think again.","status":"publish","parent":0,"modified":1557180809,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1259},"headData":{"title":"Bring On The Camp: Met Gala Exhibition Explores Camp In Fashion | KQED","description":"Think Björk’s famous 2001 “swan dress,” which is in the show, and Gaga’s unforgettable 2010 raw meat dress, which isn’t (it was real meat, after all.) But lest you think camp is only artifice and theatricality, flamboyance and a desire to shock, Met curator wants you to think again.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"111633 https://ww2.kqed.org/pop/?p=111633","disqusUrl":"https://ww2.kqed.org/pop/2019/05/06/bring-on-the-camp-met-gala-exhibition-explores-camp-in-fashion/","disqusTitle":"Bring On The Camp: Met Gala Exhibition Explores Camp In Fashion","nprByline":"Jocelyn Noveck, Associated Press","path":"/pop/111633/bring-on-the-camp-met-gala-exhibition-explores-camp-in-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Louis XIV and Oscar Wilde, meet Björk and Lady Gaga.\u003c/p>\n\u003cp>What quality do they share, across the centuries? An innate sense of camp—the aesthetic that’s being celebrated in the new fashion mega-exhibit at the Metropolitan Museum of Art’s Costume Institute, \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2019/camp-notes-on-fashion\" target=\"_blank\" rel=\"noopener\">\u003cem>Camp: Notes on Fashion\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Think Björk’s famous 2001 “swan dress,” which is in the show, and Gaga’s unforgettable 2010 raw meat dress, which isn’t (it was real meat, after all). But lest you think camp is only artifice and theatricality, flamboyance and a desire to shock, Met curator Andrew Bolton wants you to think again.\u003c/p>\n\u003cp>“People are very quick to dismiss camp as being trite, glib, frivolous,” Bolton said in a weekend interview as he was putting finishing touches on the exhibit, which launches Monday evening at the star-studded Met Gala, to be co-chaired by Gaga herself, along with Serena Williams, Harry Styles, Gucci’s Alessandro Michele, and of course Vogue editor Anna Wintour.\u003c/p>\n\u003cfigure id=\"attachment_111635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111635\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Camp-GettyImages-1131339052-800-800x534.jpg\" alt=\"General view of the Press Event for The Costume Institute's spring 2019 exhibition "Camp: Notes on Fashion" on February 22, 2019 in Milan, Italy. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-GettyImages-1131339052-800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-GettyImages-1131339052-800-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-GettyImages-1131339052-800-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">General view of the Press Event for The Costume Institute's spring 2019 exhibition \"Camp: Notes on Fashion\" on February 22, 2019 in Milan, Italy. \u003ccite>(Photo by Vittorio Zunino Celotto/Getty Images for The Metropolitan Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But it actually has a lot of history, it’s really serious, it’s political—and it’s tragic too, disguised as humor,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibit is built around author Susan Sontag’s 1964 “Notes on ‘Camp,’” a 58-point essay which she dedicated to Oscar Wilde, the 19th-century poet and playwright whose camp sensibility is also featured in the show. Camp “is not a natural mode of sensibility,” she wrote. “The essence ... is its love of the unnatural, of artifice and exaggeration.”\u003c/p>\n\u003cfigure id=\"attachment_111666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111666\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Lady-Gaga-GettyImages-1147407843-800x555.jpg\" alt=\"Lady Gaga and Brandon Maxwell attend The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Lady-Gaga-GettyImages-1147407843.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Lady-Gaga-GettyImages-1147407843-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Lady-Gaga-GettyImages-1147407843-768x533.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lady Gaga and Brandon Maxwell attend The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She also called camp “something of a private code.” Bolton notes that in later years, it became mainstream, to the point where it lost much of its subversive meaning. Originating in gay culture, it slowly became assimilated into the culture at large along with other parts of gay culture, he says.\u003c/p>\n\u003cp>But every so often camp comes back as a powerful influence in fashion, Bolton says, and he thinks it’s having a new moment now, because it always returns at a time of political polarization and instability.\u003c/p>\n\u003cp>At a press preview on Monday, Bolton told the crowd that since he chose the subject of “camp,” everyone’s been asking two questions: “Why camp?” and “What IS camp?”\u003c/p>\n\u003cp>And so the exhibit, which features some 250 items, begins with history—and a grammar lesson. The term “camp” was first used as a French verb—\u003cem>se camper\u003c/em>, or to flaunt—in the 17th century. In a 1671 Moliere play, the character Scapin tells a fellow servant to “Camp about on one leg. Put your hand on your hip. Wear a furious look. Strut about like a drama king.”\u003c/p>\n\u003cfigure id=\"attachment_111637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111637\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/800px-Louis_XIV_of_France-800x1137.jpg\" alt=\"Portrait of King Louis XIV by Hyacinth Rigaud, 1701 at the Musée du Louvre, Paris. \" width=\"800\" height=\"1137\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/800px-Louis_XIV_of_France.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/800px-Louis_XIV_of_France-160x227.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/800px-Louis_XIV_of_France-768x1092.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of King Louis XIV by Hyacinth Rigaud, 1701 at the Musée du Louvre, Paris.\u003c/figcaption>\u003c/figure>\n\u003cp>To remind us of one such drama king, there’s Louis XIV, in his official portrait: one leg in front, hand on hip, modeling his massive royal cloak, along with silk stockings and red-heeled shoes.\u003c/p>\n\u003cp>The exhibit then takes us from the verb to the adjective, “campish,” which had gay connotations in the 19th century, and then to the noun, where camp first enters a Victorian dictionary in 1909, defined as “actions and gestures of exaggerated emphasis. Probably from the French.”\u003c/p>\n\u003cp>Then comes the fashion. There’s “naive camp,” which is intended to be serious but failing, versus “deliberate camp,” intended to be, well, campy.\u003c/p>\n\u003cp>There are enormous feathered dresses—Sontag wrote that camp was “a woman walking around in a dress made of three million feathers”—by Armani and by Jeremy Scott, the latter surrounded by scores of attached butterflies. Scott, a specialist in camp, also is represented by a dress of dollar bills, and his McDonald’s-themed outfits for Moschino, where he serves as creative director.\u003c/p>\n\u003cp>From John Galliano, there are dresses that seem made of newspaper clippings and packing tape. And because the Palace of Versailles is seen as “a sort of camp [Garden of] Eden,” there’s a section of Versailles-style gowns by designers like Franco Moschino and Vivienne Westwood.\u003c/p>\n\u003cp>“Camp is ‘Swan Lake,’” Sontag wrote, so we also have Bjork’s famous swan dress by designer Marjan Pejoski, the bird’s long neck curving over the shoulder.\u003c/p>\n\u003cp>Representing what Sontag called “the convertibility of ‘man’ and ‘woman,’” designer Thom Browne contributes a man’s wedding outfit that combines a black tuxedo with a white filmy skirt.\u003c/p>\n\u003cp>And maybe there isn’t a Lady Gaga meat dress, but there’s a Jeremy Scott “prosciutto dress” (not real, this time), and his wacky TV dinner cape—with carrots, peas and corn on one side, mashed potatoes with butter on the other (they’re fake too, thankfully).\u003c/p>\n\u003cp>Because camp “sees everything in quotation marks” (Sontag again), there is designer Virgil Abloh’s 2018 little black dress that says “Little Black Dress,” with boots that say “For Walking.”\u003c/p>\n\u003cp>And there’s a gigantic birthday cake-like dress of cascading pink tulle by Viktor & Rolfe, which says “Less is More”—because camp is, above all, about irony.\u003c/p>\n\u003cp>Bolton says he started thinking about camp two years ago when mounting his show on Rei Kawakubo of Comme des Garcons. He reread Sontag’s essay and was struck by how relevant it felt.\u003c/p>\n\u003cp>He was also inspired to mark the 50th anniversary this year of the 1969 Stonewall riots, a landmark moment in the history of gay rights.\u003c/p>\n\u003cfigure id=\"attachment_111638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-111638\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Camp-2-GettyImages-1131338963-800x534.jpg\" alt=\"General view of the Press Event for The Costume Institute's spring 2019 exhibition "Camp: Notes on Fashion" on February 22, 2019 in Milan, Italy. \" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-2-GettyImages-1131338963.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-2-GettyImages-1131338963-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Camp-2-GettyImages-1131338963-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">General view of the Press Event for The Costume Institute's spring 2019 exhibition \"Camp: Notes on Fashion\" on February 22, 2019 in Milan, Italy. \u003ccite>(Vittorio Zunino Celotto/Getty Images for The Metropolitan Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bolton notes that some designers have always embraced camp—Moschino, Scott, Marc Jacobs and Anna Sui, for example. “But what you’re seeing now is other designers adopting it, like Valentino, Armani. That’s when it shifts, when it’s going beyond a handful to a broader group.”\u003c/p>\n\u003cp>When the show opens to the public on Thursday, Bolton hopes visitors will be able to look beyond camp’s formal characteristics—irony, parody, artificiality and extravagance, to name a few—and see its broader meaning.\u003c/p>\n\u003cp>“It’s all of that,” he acknowledges. “But it’s much more.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Met Gala pre-show begins at 5 p.m. EST on Monday, May 6. E!'s “Live From the Red Carpet,” will broadcast four hours of camp-tastic celebrity fashion inspired by the exhibition. Streaming also available on Hulu Live TV.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/111633/bring-on-the-camp-met-gala-exhibition-explores-camp-in-fashion","authors":["byline_pop_111633"],"categories":["pop_1537","pop_7","pop_56","pop_1536","pop_5"],"tags":["pop_3607","pop_3608","pop_464","pop_326","pop_1105","pop_3606","pop_3605"],"featImg":"pop_111665","label":"pop"},"pop_110765":{"type":"posts","id":"pop_110765","meta":{"index":"posts_1591205157","site":"pop","id":"110765","score":null,"sort":[1554576367000]},"guestAuthors":[],"slug":"i-thought-i-didnt-like-ballet-then-i-saw-arthur-pitas-bjork-ballet","title":"I Thought I Didn't Like Ballet. Then I Saw Arthur Pita's 'Björk Ballet'","publishDate":1554576367,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Confession: My knowledge of ballet is limited. I've seen \u003cem>Black Swan\u003c/em>. That's about the extent of it. (Unless you count the time I tried taking a ballet class for fun and, approximately four minutes into all the \u003cem>plies\u003c/em>, \u003cem>sautes\u003c/em> and \u003cem>releves\u003c/em>, had to flee the classroom to escape the withering side-eyes of a dozen teen girls.) But I'm no Philistine; when a friend asked if I wanted to check out a Björk ballet, my answer was in the neighborhood of \"Duhhhh.\"\u003c/p>\n\u003cp>If anyone's influence can teleport the classical form of ballet into the future, surely it's the Icelandic queen of kook. Maybe there would be \u003ca href=\"http://4.bp.blogspot.com/-N24HGqDhZP8/TaXS_-wxWJI/AAAAAAAAaoA/KFXb_8qhHok/s1600/bjork%2Bswan.jpg\">swan dress\u003c/a> tutus? Or \u003ca href=\"https://media0.giphy.com/media/11woBTllPMt4TC/giphy.gif\">computer-animated animorphs\u003c/a>? I had to find out, so I snatched the cheapest ticket I could find ($39! Not bad!), purchased a sippy cup of wine from the bar and climbed as far up in the War Memorial Opera House as one can without ending up on the roof. My seat should have come with a warning: \u003cem>May cause nose bleeds, elevation sickness and/or vertigo. \u003c/em>\u003c/p>\n\u003cp>Looking through the program, I learned this wasn't an entire evening of Björk; two other pieces would be presented before the weird stuff I'd come to see. I immediately began coming up with ideas of how to make the more traditional performances interesting. I could pretend they were deleted scenes from \u003cem>Suspiria\u003c/em>. I could imagine that, like in the movie \u003cem>Inside Out\u003c/em>, each dancer represented one of my inner emotions (look at my anxiety twirl!). Or I could pretend it was all a hallucination brought on by some psychedelic drug.\u003c/p>\n\u003cp>The last technique worked best for me. Things kicked off with \u003cem>Rodeo: Four Dance Episodes\u003c/em>, which involved color-coded groups of male dancers one-upping each other's athleticism. I decided it was about the crackling sexual tension between rugby players at a boarding school in 1940s England. The second piece—\u003cem>Die Toteninsel\u003c/em>—featured a sad procession of dancers coming in and out of complete darkness, until one dancer was left to worship a bright light. It was probably about the slow march towards death and becoming obsolete, but I took it to be an allegory for seasonal affective disorder and SAD lamps.\u003c/p>\n\u003cp>At last, it was time for \u003cem>Björk Ballet\u003c/em>, choreographed by Arthur Pita, who \u003cem>The Guardian\u003c/em> has hailed as \"\u003ca href=\"https://www.theguardian.com/stage/2015/jun/22/arthur-pita-dance-choreographer-edward-watson-wendy-whelan-interview\">the David Lynch of dance\u003c/a>.\" The curtain lifted to reveal a mirror-like floor. I leaned over to my friend and said, \"I'm already in.\" She agreed. A lone dancer wearing a sad mask moved to the overture from \u003cem>Dancer in the Dark\u003c/em>. You know how often I care to be reminded of how devastating that movie was? Never.\u003c/p>\n\u003cfigure id=\"attachment_110789\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-110789\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/BJB18DRE_ET32226_E-1020x682.jpg\" alt=\"I get sad listening to the overture from 'Dancer in the Dark' too.\" width=\"640\" height=\"428\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32226_E-1020x682.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32226_E-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32226_E-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32226_E-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32226_E.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">I get sad listening to the overture from 'Dancer in the Dark' too. \u003ccite>(Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, Björk's voice sliced through the depression with a reassuring message: \"You'll be given love. You'll be taken care of.\" (Aw, thanks, Björk.) Rows of odd little tinsel palm trees lowered down from the ceiling and were suddenly cut loose, plopping onto the ground. Not one of them toppled over. A dancer carried a pole to the end of the stage and went fishing in the orchestra pit. Nothing made sense. I was falling in love anyway.\u003c/p>\n\u003cfigure id=\"attachment_110786\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg class=\"size-full wp-image-110786\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/Bjork.jpg\" alt=\"Dancers rocking their Marco Marco costumes.\" width=\"1000\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/Bjork.jpg 1000w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/Bjork-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/Bjork-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/Bjork-768x384.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rocking their Marco Marco costumes. \u003ccite>(Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even from the high balcony, I could tell the costumes were something special. Marco Marco—the man responsible for creating cupcake breasts for Katy Perry, bodysuits for Britney Spears' \u003cem>Piece of Me\u003c/em> tour and drag outfits for queens on \u003cem>RuPaul's Drag Race—\u003c/em>created face masks reminiscent of Mexican wrestlers, flashy capes and the kind of outfits you'd expect a sexy villain waging war on the Power Rangers to wear. I wanted one in every color.\u003c/p>\n\u003cfigure id=\"attachment_110788\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-110788\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE-1020x712.jpg\" alt=\"My back hurts just looking at this.\" width=\"640\" height=\"447\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE-1020x712.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE-768x536.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">My back hurts just looking at this. \u003ccite>(Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across eight songs that spanned across Björk's discography, from her 1993 release \u003cem>Debut\u003c/em> to her latest, 2017's \u003cem>Utopia\u003c/em>, the dancers moved in ways you wouldn't expect from traditional ballet. Their contortions and shapes felt closer to a game of Twister with a touch of demonic possession.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things got most devilish during \"Hyperballad.\" A sparkly dancer with tinsel fringed arms jerked around on top of a platform carried around the stage by four men (Cleopatra who?) before trust-falling off. Björk sang about flinging herself off a cliff and wondering what her body would sound like slamming against the rocks below, and whether her corpse's eyes would be closed or open. Every person on stage synced up, jumping up and down in unison, as if they were at an acid-fueled rave on the lip of a volcano. \"I think I'm going to cry,\" I said out loud.\u003c/p>\n\u003cfigure id=\"attachment_110792\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-110792\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE-1020x510.jpg\" alt=\"Maybe they both have mono?\" width=\"640\" height=\"320\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE-1020x510.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE.jpg 1191w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Maybe they both have mono? \u003ccite>(Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before I knew it, the 30-minute piece was over. The curtain dropped and cloaked the magical, maniacal world of Björk. I blinked out of my trance, gaping at the edge of my seat, feeling stunned, inspired and electrified. I had no idea ballet could evoke this kind of reaction in me. Yet here I was, a convert.\u003c/p>\n\u003cp>I felt changed:\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/1113827661833310213\u003c/p>\n\u003cp>And you can feel that too! But you'll have to hurry; there are only a few performances left. (The series ends on Tuesday, April 9, 2019). Run; don't walk! And in case you need further encouragement, the SF Ballet recreated the show's playlist on Spotify for all of you:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://open.spotify.com/embed?uri=spotify%3Aplaylist%3A5t7BLURi4mh6syB8ALbJsu\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n","blocks":[],"excerpt":"Who knew ballet could look like masked weirdos partying at an acid-fueled rave on the lip of a volcano?","status":"publish","parent":0,"modified":1554576820,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":958},"headData":{"title":"I Thought I Didn't Like Ballet. Then I Saw Arthur Pita's 'Björk Ballet' | KQED","description":"Who knew ballet could look like masked weirdos partying at an acid-fueled rave on the lip of a volcano?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"110765 https://ww2.kqed.org/pop/?p=110765","disqusUrl":"https://ww2.kqed.org/pop/2019/04/06/i-thought-i-didnt-like-ballet-then-i-saw-arthur-pitas-bjork-ballet/","disqusTitle":"I Thought I Didn't Like Ballet. Then I Saw Arthur Pita's 'Björk Ballet'","path":"/pop/110765/i-thought-i-didnt-like-ballet-then-i-saw-arthur-pitas-bjork-ballet","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Confession: My knowledge of ballet is limited. I've seen \u003cem>Black Swan\u003c/em>. That's about the extent of it. (Unless you count the time I tried taking a ballet class for fun and, approximately four minutes into all the \u003cem>plies\u003c/em>, \u003cem>sautes\u003c/em> and \u003cem>releves\u003c/em>, had to flee the classroom to escape the withering side-eyes of a dozen teen girls.) But I'm no Philistine; when a friend asked if I wanted to check out a Björk ballet, my answer was in the neighborhood of \"Duhhhh.\"\u003c/p>\n\u003cp>If anyone's influence can teleport the classical form of ballet into the future, surely it's the Icelandic queen of kook. Maybe there would be \u003ca href=\"http://4.bp.blogspot.com/-N24HGqDhZP8/TaXS_-wxWJI/AAAAAAAAaoA/KFXb_8qhHok/s1600/bjork%2Bswan.jpg\">swan dress\u003c/a> tutus? Or \u003ca href=\"https://media0.giphy.com/media/11woBTllPMt4TC/giphy.gif\">computer-animated animorphs\u003c/a>? I had to find out, so I snatched the cheapest ticket I could find ($39! Not bad!), purchased a sippy cup of wine from the bar and climbed as far up in the War Memorial Opera House as one can without ending up on the roof. My seat should have come with a warning: \u003cem>May cause nose bleeds, elevation sickness and/or vertigo. \u003c/em>\u003c/p>\n\u003cp>Looking through the program, I learned this wasn't an entire evening of Björk; two other pieces would be presented before the weird stuff I'd come to see. I immediately began coming up with ideas of how to make the more traditional performances interesting. I could pretend they were deleted scenes from \u003cem>Suspiria\u003c/em>. I could imagine that, like in the movie \u003cem>Inside Out\u003c/em>, each dancer represented one of my inner emotions (look at my anxiety twirl!). Or I could pretend it was all a hallucination brought on by some psychedelic drug.\u003c/p>\n\u003cp>The last technique worked best for me. Things kicked off with \u003cem>Rodeo: Four Dance Episodes\u003c/em>, which involved color-coded groups of male dancers one-upping each other's athleticism. I decided it was about the crackling sexual tension between rugby players at a boarding school in 1940s England. The second piece—\u003cem>Die Toteninsel\u003c/em>—featured a sad procession of dancers coming in and out of complete darkness, until one dancer was left to worship a bright light. It was probably about the slow march towards death and becoming obsolete, but I took it to be an allegory for seasonal affective disorder and SAD lamps.\u003c/p>\n\u003cp>At last, it was time for \u003cem>Björk Ballet\u003c/em>, choreographed by Arthur Pita, who \u003cem>The Guardian\u003c/em> has hailed as \"\u003ca href=\"https://www.theguardian.com/stage/2015/jun/22/arthur-pita-dance-choreographer-edward-watson-wendy-whelan-interview\">the David Lynch of dance\u003c/a>.\" The curtain lifted to reveal a mirror-like floor. I leaned over to my friend and said, \"I'm already in.\" She agreed. A lone dancer wearing a sad mask moved to the overture from \u003cem>Dancer in the Dark\u003c/em>. You know how often I care to be reminded of how devastating that movie was? Never.\u003c/p>\n\u003cfigure id=\"attachment_110789\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-110789\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/BJB18DRE_ET32226_E-1020x682.jpg\" alt=\"I get sad listening to the overture from 'Dancer in the Dark' too.\" width=\"640\" height=\"428\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32226_E-1020x682.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32226_E-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32226_E-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32226_E-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32226_E.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">I get sad listening to the overture from 'Dancer in the Dark' too. \u003ccite>(Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, Björk's voice sliced through the depression with a reassuring message: \"You'll be given love. You'll be taken care of.\" (Aw, thanks, Björk.) Rows of odd little tinsel palm trees lowered down from the ceiling and were suddenly cut loose, plopping onto the ground. Not one of them toppled over. A dancer carried a pole to the end of the stage and went fishing in the orchestra pit. Nothing made sense. I was falling in love anyway.\u003c/p>\n\u003cfigure id=\"attachment_110786\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg class=\"size-full wp-image-110786\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/Bjork.jpg\" alt=\"Dancers rocking their Marco Marco costumes.\" width=\"1000\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/Bjork.jpg 1000w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/Bjork-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/Bjork-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/Bjork-768x384.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rocking their Marco Marco costumes. \u003ccite>(Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even from the high balcony, I could tell the costumes were something special. Marco Marco—the man responsible for creating cupcake breasts for Katy Perry, bodysuits for Britney Spears' \u003cem>Piece of Me\u003c/em> tour and drag outfits for queens on \u003cem>RuPaul's Drag Race—\u003c/em>created face masks reminiscent of Mexican wrestlers, flashy capes and the kind of outfits you'd expect a sexy villain waging war on the Power Rangers to wear. I wanted one in every color.\u003c/p>\n\u003cfigure id=\"attachment_110788\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-110788\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE-1020x712.jpg\" alt=\"My back hurts just looking at this.\" width=\"640\" height=\"447\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE-1020x712.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE-768x536.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32460_CE.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">My back hurts just looking at this. \u003ccite>(Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Across eight songs that spanned across Björk's discography, from her 1993 release \u003cem>Debut\u003c/em> to her latest, 2017's \u003cem>Utopia\u003c/em>, the dancers moved in ways you wouldn't expect from traditional ballet. Their contortions and shapes felt closer to a game of Twister with a touch of demonic possession.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things got most devilish during \"Hyperballad.\" A sparkly dancer with tinsel fringed arms jerked around on top of a platform carried around the stage by four men (Cleopatra who?) before trust-falling off. Björk sang about flinging herself off a cliff and wondering what her body would sound like slamming against the rocks below, and whether her corpse's eyes would be closed or open. Every person on stage synced up, jumping up and down in unison, as if they were at an acid-fueled rave on the lip of a volcano. \"I think I'm going to cry,\" I said out loud.\u003c/p>\n\u003cfigure id=\"attachment_110792\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-110792\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE-1020x510.jpg\" alt=\"Maybe they both have mono?\" width=\"640\" height=\"320\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE-1020x510.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE-160x80.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/04/BJB18DRE_ET32413_CE.jpg 1191w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Maybe they both have mono? \u003ccite>(Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before I knew it, the 30-minute piece was over. The curtain dropped and cloaked the magical, maniacal world of Björk. I blinked out of my trance, gaping at the edge of my seat, feeling stunned, inspired and electrified. I had no idea ballet could evoke this kind of reaction in me. Yet here I was, a convert.\u003c/p>\n\u003cp>I felt changed:\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1113827661833310213"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And you can feel that too! But you'll have to hurry; there are only a few performances left. (The series ends on Tuesday, April 9, 2019). Run; don't walk! And in case you need further encouragement, the SF Ballet recreated the show's playlist on Spotify for all of you:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://open.spotify.com/embed?uri=spotify%3Aplaylist%3A5t7BLURi4mh6syB8ALbJsu\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110765/i-thought-i-didnt-like-ballet-then-i-saw-arthur-pitas-bjork-ballet","authors":["27"],"categories":["pop_1537","pop_4"],"tags":["pop_3355","pop_464","pop_3341"],"featImg":"pop_110779","label":"pop"},"pop_16717":{"type":"posts","id":"pop_16717","meta":{"index":"posts_1591205157","site":"pop","id":"16717","score":null,"sort":[1433963208000]},"guestAuthors":[],"slug":"bjork-unveils-videos-from-her-moma-exhibit-including-a-360-degree-virtual-reality-experience","title":"Bjork Unveils Videos From Her MoMA Exhibit, Including a 360 Degree Virtual Reality Experience","publishDate":1433963208,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Bjork is just coming off of a retrospective at New York's Museum of Modern Art. If you're wondering how it went, these headlines will fill you in:\u003c/p>\n\u003cp>\u003ca href=\"http://www.wsj.com/articles/under-fire-moma-vows-to-learn-from-bjork-show-1428541231\">Under Fire, MoMA Vows to Learn From Björk Show \u003c/a>\u003cbr>\n\u003ca href=\"https://thump.vice.com/en_us/article/why-does-everyone-hate-the-bjrk-retrospective-at-moma\">Why Does Everyone Hate the Björk Retrospective at MoMA\u003c/a>\u003cbr>\n\u003ca href=\"https://news.artnet.com/art-world/how-will-momas-bjork-debacle-impact-klaus-biesenbach-279582\">Is the Bjork Show Klaus Biesenbach's Ruin? \u003c/a>\u003cbr>\n\u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/03/bjork-at-moma/387370/\">'Björk' at MoMA Is a Beautiful, Ill-Conceived Disaster\u003c/a>\u003c/p>\n\u003cp>Geez, tell us how y'all really feel.\u003c/p>\n\u003cp>Despite all the criticism, it seems as though everyone agrees that the problem was in the execution and not a judgment on whether Bjork's work was museum-worthy. Small triumphs.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.artnews.com/2015/03/04/state-of-emergency-biesenbachs-bjork-show-turns-moma-into-planet-hollywood/\">ArtNews\u003c/a>\u003c/em> critic M.H. Miller had this to say about “Black Lake,” a 10-minute piece commissioned for the exhibit: \"[it] isn’t a 'new immersive music and film experience,' it’s a music video.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And now that Bjork has released it to the public, we can appreciate it as such, outside of museum walls.\u003c/p>\n\u003cp>\"Black Lake\" finds Bjork in an Icelandic cave crawling around, gesturing wildly and head banging (naturally). Then, blue lava flows and other weird things happen. Take a look:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YGn1pJIpZw8\u003c/p>\n\u003cp>Bjork also recently shared \"Stonemilker,\" an intimate 360-degree virtual reality video featuring a bunch of Bjork clones because one is definitely not enough. You can use the cursor to chase her doppelgängers around the beach and revel in the Icelandic landscape and Bjork's beautiful weirdness.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gQEyezu7G20\u003c/p>\n\n","blocks":[],"excerpt":"You can now experience video pieces from Bjork's MoMA exhibit without an entrance fee!","status":"publish","parent":0,"modified":1433963208,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":269},"headData":{"title":"Bjork Unveils Videos From Her MoMA Exhibit, Including a 360 Degree Virtual Reality Experience | KQED","description":"You can now experience video pieces from Bjork's MoMA exhibit without an entrance fee!","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"16717 http://ww2.kqed.org/pop/?p=16717","disqusUrl":"https://ww2.kqed.org/pop/2015/06/10/bjork-unveils-videos-from-her-moma-exhibit-including-a-360-degree-virtual-reality-experience/","disqusTitle":"Bjork Unveils Videos From Her MoMA Exhibit, Including a 360 Degree Virtual Reality Experience","path":"/pop/16717/bjork-unveils-videos-from-her-moma-exhibit-including-a-360-degree-virtual-reality-experience","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bjork is just coming off of a retrospective at New York's Museum of Modern Art. If you're wondering how it went, these headlines will fill you in:\u003c/p>\n\u003cp>\u003ca href=\"http://www.wsj.com/articles/under-fire-moma-vows-to-learn-from-bjork-show-1428541231\">Under Fire, MoMA Vows to Learn From Björk Show \u003c/a>\u003cbr>\n\u003ca href=\"https://thump.vice.com/en_us/article/why-does-everyone-hate-the-bjrk-retrospective-at-moma\">Why Does Everyone Hate the Björk Retrospective at MoMA\u003c/a>\u003cbr>\n\u003ca href=\"https://news.artnet.com/art-world/how-will-momas-bjork-debacle-impact-klaus-biesenbach-279582\">Is the Bjork Show Klaus Biesenbach's Ruin? \u003c/a>\u003cbr>\n\u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/03/bjork-at-moma/387370/\">'Björk' at MoMA Is a Beautiful, Ill-Conceived Disaster\u003c/a>\u003c/p>\n\u003cp>Geez, tell us how y'all really feel.\u003c/p>\n\u003cp>Despite all the criticism, it seems as though everyone agrees that the problem was in the execution and not a judgment on whether Bjork's work was museum-worthy. Small triumphs.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.artnews.com/2015/03/04/state-of-emergency-biesenbachs-bjork-show-turns-moma-into-planet-hollywood/\">ArtNews\u003c/a>\u003c/em> critic M.H. Miller had this to say about “Black Lake,” a 10-minute piece commissioned for the exhibit: \"[it] isn’t a 'new immersive music and film experience,' it’s a music video.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now that Bjork has released it to the public, we can appreciate it as such, outside of museum walls.\u003c/p>\n\u003cp>\"Black Lake\" finds Bjork in an Icelandic cave crawling around, gesturing wildly and head banging (naturally). Then, blue lava flows and other weird things happen. Take a look:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YGn1pJIpZw8'\n title='//www.youtube.com/embed/YGn1pJIpZw8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bjork also recently shared \"Stonemilker,\" an intimate 360-degree virtual reality video featuring a bunch of Bjork clones because one is definitely not enough. You can use the cursor to chase her doppelgängers around the beach and revel in the Icelandic landscape and Bjork's beautiful weirdness.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gQEyezu7G20'\n title='//www.youtube.com/embed/gQEyezu7G20'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/16717/bjork-unveils-videos-from-her-moma-exhibit-including-a-360-degree-virtual-reality-experience","authors":["27"],"categories":["pop_4"],"tags":["pop_464"],"featImg":"pop_16719","label":"pop"},"pop_12364":{"type":"posts","id":"pop_12364","meta":{"index":"posts_1591205157","site":"pop","id":"12364","score":null,"sort":[1402356784000]},"guestAuthors":[],"slug":"bay-area-death-grips-drop-surprise-album-with-bjork","title":"Sacramento's Death Grips Drop Surprise Album with Bjork","publishDate":1402356784,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cfigure id=\"attachment_12365\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/09/bay-area-death-grips-drop-surprise-album-with-bjork/death-grips-bjork-collab/\" rel=\"attachment wp-att-12365\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/death-grips-bjork-collab.jpg\" alt=\"Photo: Wikipedia and Polydor\" width=\"640\" height=\"360\" class=\"size-full wp-image-12365\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/death-grips-bjork-collab.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/death-grips-bjork-collab-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://en.wikipedia.org/wiki/Death_Grips#mediaviewer/File:Death_Grips_Performing_in_NYC.jpg\">Wikipedia\u003c/a> and Polydor\u003c/figcaption>\u003c/figure>\n\u003cp>The element of surprise when releasing music has traveled the full spectrum from \u003ca href=\"http://blogs.kqed.org/pop/2013/12/13/the-genius-behind-beyonces-surprise-game-changing-visual-album-self-titled/\">brilliant\u003c/a> to \u003ca href=\"http://time.com/77264/mariah-carey-planning-a-beyonce-style-surprise-album/\">gimmicky\u003c/a> in just a few short months. So how is a musician supposed to still wow us? Drop a surprise album...that is free and also a collaboration with Bjork! \u003ca href=\"http://www.coolshitiget.com/wp-content/uploads/2014/03/mind-blown-2.gif\">Kaboom\u003c/a>! That's exactly what Sacramento's experimental hip hop group Death Grips did today, and apparently there's a whole other disc to come later this year that will complete the double album. Your move, Beyonce.\u003c/p>\n\u003cp>Stream the first batch of songs from \u003cem>the powers that b\u003c/em>:\u003c/p>\n\u003cdiv>\n\u003cp>\u003ciframe width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/38816256&color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false\">\u003c/iframe>\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Sacramento experimental hip hop group pulls a Beyonce, adds Bjork.","status":"publish","parent":0,"modified":1402356838,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":99},"headData":{"title":"Sacramento's Death Grips Drop Surprise Album with Bjork | KQED","description":"Sacramento experimental hip hop group pulls a Beyonce, adds Bjork.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"12364 http://blogs.kqed.org/pop/?p=12364","disqusUrl":"https://ww2.kqed.org/pop/2014/06/09/bay-area-death-grips-drop-surprise-album-with-bjork/","disqusTitle":"Sacramento's Death Grips Drop Surprise Album with Bjork","path":"/pop/12364/bay-area-death-grips-drop-surprise-album-with-bjork","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12365\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/09/bay-area-death-grips-drop-surprise-album-with-bjork/death-grips-bjork-collab/\" rel=\"attachment wp-att-12365\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/death-grips-bjork-collab.jpg\" alt=\"Photo: Wikipedia and Polydor\" width=\"640\" height=\"360\" class=\"size-full wp-image-12365\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/death-grips-bjork-collab.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/death-grips-bjork-collab-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://en.wikipedia.org/wiki/Death_Grips#mediaviewer/File:Death_Grips_Performing_in_NYC.jpg\">Wikipedia\u003c/a> and Polydor\u003c/figcaption>\u003c/figure>\n\u003cp>The element of surprise when releasing music has traveled the full spectrum from \u003ca href=\"http://blogs.kqed.org/pop/2013/12/13/the-genius-behind-beyonces-surprise-game-changing-visual-album-self-titled/\">brilliant\u003c/a> to \u003ca href=\"http://time.com/77264/mariah-carey-planning-a-beyonce-style-surprise-album/\">gimmicky\u003c/a> in just a few short months. So how is a musician supposed to still wow us? Drop a surprise album...that is free and also a collaboration with Bjork! \u003ca href=\"http://www.coolshitiget.com/wp-content/uploads/2014/03/mind-blown-2.gif\">Kaboom\u003c/a>! That's exactly what Sacramento's experimental hip hop group Death Grips did today, and apparently there's a whole other disc to come later this year that will complete the double album. Your move, Beyonce.\u003c/p>\n\u003cp>Stream the first batch of songs from \u003cem>the powers that b\u003c/em>:\u003c/p>\n\u003cdiv>\n\u003cp>\u003ciframe width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/38816256&color=ff5500&auto_play=false&hide_related=false&show_artwork=true&show_comments=true&show_user=true&show_reposts=false\">\u003c/iframe>\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/12364/bay-area-death-grips-drop-surprise-album-with-bjork","authors":["27"],"categories":["pop_4"],"tags":["pop_464","pop_1595","pop_25"],"featImg":"pop_12365","label":"pop"},"pop_10072":{"type":"posts","id":"pop_10072","meta":{"index":"posts_1591205157","site":"pop","id":"10072","score":null,"sort":[1386604880000]},"guestAuthors":[],"slug":"the-lost-art-of-music-video-morphing","title":"The Lost Art of Music Video Morphing","publishDate":1386604880,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cfigure id=\"attachment_10108\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=10108\" rel=\"attachment wp-att-10108\">\u003cimg class=\"size-full wp-image-10108\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/bjork-hunter.jpg\" alt=\"bjork-hunter\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/12/bjork-hunter.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/12/bjork-hunter-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bjork just being Bjork in the \"Hunter\" music video\u003c/figcaption>\u003c/figure>\n\u003cp>Like most kids growing up in the '80s and '90s, I watched music videos non-stop. I have a secret timeline in my head of what was number one on VH1’s countdown as opposed to TRL. I could practically write out the storyboard of most videos from 1995 to 2005 shot by shot. Videos for me weren’t so much advertisements for music (which essentially they really are) as they were miniature visual fantasies of the impossible. The videos that captured me most were the ones that used technology and mind-blowing conceptual ideas (at least for a teenager) that made the song much more than just pop.\u003c/p>\n\u003cp>Enter, Michael Jackson’s “Black or White.” If not spectacular enough with MJ killing it while dancing with people from all over the world, the last minute of the video features faces of lots of races and genders jamming to the song and morphing into each other. The technology was so new at the time that it sent shivers down my spine.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/F2AitTPI5U0\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>During the next 10 to 15 years, the use of morphing in music videos skyrocketed. All of the hottest directors from Hype Willams to Mark Romanec and Chris Cunningham jumped on the bandwagon. Sometimes high budget (some of the videos in this article are among \u003ca href=\"http://www.vh1.com/music/tuner/2013-09-26/25-most-expensive-music-videos/\">the most expensive videos ever made\u003c/a>) and sometimes low (editors just spliced scenes together), the effect was used to change the images of our favorite pop stars right before our eyes. Here are some of the highlights:\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/0Gl2QnHNpkA\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>What’s swoonier than a young Nick Carter with a middle-parted bowl cut? A young Nick Carter morphing into Kevin Richardson morphing into Howie Dorough, of course. And in the Backstreet Boys’ video for “As Long As You Love Me,” it was as easy as clicking a TV remote. The boys keep turning into each other, which makes it so much harder to really decide that age old question: which BSB is my favorite?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/TWZKw_MgUPI\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Not to be outdone, the other boy band, ‘N Sync (or is BSB the other boy band? but that’s another discussion entirely) had to show off their morphing skills in their \"Pop\" video clip. They bust some classic early 2000s dance moves during the mid-song break down, including the always sexy high-plank-hip-thrust, all the while changing in the blink of an eye from one outfit to another. The dancing and the instantaneous costume changes embodies everything that is pop: fast, luxurious, excessive, ephemeral.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/K4gcQj_NZ30\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Morphing wasn’t just a boy’s game. Mya’s video for \"My Love is Like Whoa\" features her in an Adidas running getup that changes from blue to red and back to blue as she uses her tightest dance moves to prove what her love is like. This clip only pulls the morphing off thanks to great editing and Mya’s precise dancing skills because it’s clear that director, Paul Hunter, didn’t use any fancy technology, but the effect is the same: pop stars have a huge wardrobe.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/0P4A1K4lXDo\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/RGc79llajx4\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Not only Michael, but the whole family got in on the morphing trend during the '90s. Michael indoctrinated Janet into the fold in their epic \"Scream\" short film. Everything morphs into everything: Michael into Janet, Warhol into Pollock, Buddha into Magritte. The Jacksons had the power to have whatever they wanted and, when they got tired of it, they could just turn it into something else. Janet used the technique again in her collaboration with Busta Rhymes, \"What’s It Gonna Be?” Rhymes and an entire marching band morph out of a silver water wall à la Alex Mack in order to parade around a purple leather-clad Janet.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/XS088Opj9o0\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Madonna’s \"Frozen\" shows that morphing isn’t just about excess and showing off how many styles you can flaunt in one video. Her spooky and contemplative clip demonstrates that not only can she wear whatever she wants, but she can be anything she wants. She morphs into a flock of ravens and into different versions of herself just to prove that she will always be the baddest witch in the desert.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/3CBVtC-Y3ek\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>But let’s be honest; when I think of morphing, I only think of one video: Bjork’s \"Hunter.\" The image of a stripped down, bald Bjork slowing turning into a struggling polar bear will forever be imprinted on my brain. I think it’s the most powerful example of the technique because it speaks to the transformative power of pop music. This is why we listen to it, for just a few moments to be someone or something that we’re not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the fact that morphing technology has improved over the last decade and it is constantly used in movies and TV shows, music videos feature it less and less, probably due to decreased video budgets and declining record sales. It’s a shame to see such a dazzling technique fall to the wayside in favor of twerking and \u003ca href=\"http://www.youtube.com/watch?v=r4VQoP2_eL4\">metallic lip gloss\u003c/a>. Please add recent examples or your own favorites in the comments!\u003c/p>\n\n","blocks":[],"excerpt":"The face morphing technology made famous by Michael Jackson's \"Black or White\" music video inspired a trend during the '90s and early 2000s. We pay tribute to the form with a look back at the best examples, from Bjork to the Backstreet Boys!","status":"publish","parent":0,"modified":1386367307,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":887},"headData":{"title":"The Lost Art of Music Video Morphing | KQED","description":"The face morphing technology made famous by Michael Jackson's "Black or White" music video inspired a trend during the '90s and early 2000s. We pay tribute to the form with a look back at the best examples, from Bjork to the Backstreet Boys!","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"10072 http://blogs.kqed.org/pop/?p=10072","disqusUrl":"https://ww2.kqed.org/pop/2013/12/09/the-lost-art-of-music-video-morphing/","disqusTitle":"The Lost Art of Music Video Morphing","path":"/pop/10072/the-lost-art-of-music-video-morphing","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10108\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=10108\" rel=\"attachment wp-att-10108\">\u003cimg class=\"size-full wp-image-10108\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/bjork-hunter.jpg\" alt=\"bjork-hunter\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/12/bjork-hunter.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/12/bjork-hunter-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bjork just being Bjork in the \"Hunter\" music video\u003c/figcaption>\u003c/figure>\n\u003cp>Like most kids growing up in the '80s and '90s, I watched music videos non-stop. I have a secret timeline in my head of what was number one on VH1’s countdown as opposed to TRL. I could practically write out the storyboard of most videos from 1995 to 2005 shot by shot. Videos for me weren’t so much advertisements for music (which essentially they really are) as they were miniature visual fantasies of the impossible. The videos that captured me most were the ones that used technology and mind-blowing conceptual ideas (at least for a teenager) that made the song much more than just pop.\u003c/p>\n\u003cp>Enter, Michael Jackson’s “Black or White.” If not spectacular enough with MJ killing it while dancing with people from all over the world, the last minute of the video features faces of lots of races and genders jamming to the song and morphing into each other. The technology was so new at the time that it sent shivers down my spine.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/F2AitTPI5U0\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>During the next 10 to 15 years, the use of morphing in music videos skyrocketed. All of the hottest directors from Hype Willams to Mark Romanec and Chris Cunningham jumped on the bandwagon. Sometimes high budget (some of the videos in this article are among \u003ca href=\"http://www.vh1.com/music/tuner/2013-09-26/25-most-expensive-music-videos/\">the most expensive videos ever made\u003c/a>) and sometimes low (editors just spliced scenes together), the effect was used to change the images of our favorite pop stars right before our eyes. Here are some of the highlights:\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/0Gl2QnHNpkA\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>What’s swoonier than a young Nick Carter with a middle-parted bowl cut? A young Nick Carter morphing into Kevin Richardson morphing into Howie Dorough, of course. And in the Backstreet Boys’ video for “As Long As You Love Me,” it was as easy as clicking a TV remote. The boys keep turning into each other, which makes it so much harder to really decide that age old question: which BSB is my favorite?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/TWZKw_MgUPI\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Not to be outdone, the other boy band, ‘N Sync (or is BSB the other boy band? but that’s another discussion entirely) had to show off their morphing skills in their \"Pop\" video clip. They bust some classic early 2000s dance moves during the mid-song break down, including the always sexy high-plank-hip-thrust, all the while changing in the blink of an eye from one outfit to another. The dancing and the instantaneous costume changes embodies everything that is pop: fast, luxurious, excessive, ephemeral.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/K4gcQj_NZ30\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Morphing wasn’t just a boy’s game. Mya’s video for \"My Love is Like Whoa\" features her in an Adidas running getup that changes from blue to red and back to blue as she uses her tightest dance moves to prove what her love is like. This clip only pulls the morphing off thanks to great editing and Mya’s precise dancing skills because it’s clear that director, Paul Hunter, didn’t use any fancy technology, but the effect is the same: pop stars have a huge wardrobe.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/0P4A1K4lXDo\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/RGc79llajx4\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Not only Michael, but the whole family got in on the morphing trend during the '90s. Michael indoctrinated Janet into the fold in their epic \"Scream\" short film. Everything morphs into everything: Michael into Janet, Warhol into Pollock, Buddha into Magritte. The Jacksons had the power to have whatever they wanted and, when they got tired of it, they could just turn it into something else. Janet used the technique again in her collaboration with Busta Rhymes, \"What’s It Gonna Be?” Rhymes and an entire marching band morph out of a silver water wall à la Alex Mack in order to parade around a purple leather-clad Janet.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/XS088Opj9o0\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Madonna’s \"Frozen\" shows that morphing isn’t just about excess and showing off how many styles you can flaunt in one video. Her spooky and contemplative clip demonstrates that not only can she wear whatever she wants, but she can be anything she wants. She morphs into a flock of ravens and into different versions of herself just to prove that she will always be the baddest witch in the desert.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/3CBVtC-Y3ek\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>But let’s be honest; when I think of morphing, I only think of one video: Bjork’s \"Hunter.\" The image of a stripped down, bald Bjork slowing turning into a struggling polar bear will forever be imprinted on my brain. I think it’s the most powerful example of the technique because it speaks to the transformative power of pop music. This is why we listen to it, for just a few moments to be someone or something that we’re not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the fact that morphing technology has improved over the last decade and it is constantly used in movies and TV shows, music videos feature it less and less, probably due to decreased video budgets and declining record sales. It’s a shame to see such a dazzling technique fall to the wayside in favor of twerking and \u003ca href=\"http://www.youtube.com/watch?v=r4VQoP2_eL4\">metallic lip gloss\u003c/a>. Please add recent examples or your own favorites in the comments!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/10072/the-lost-art-of-music-video-morphing","authors":["2523"],"categories":["pop_4"],"tags":["pop_353","pop_1398","pop_464","pop_1400","pop_484","pop_1301","pop_52","pop_25","pop_26","pop_1399","pop_1397"],"featImg":"pop_10108","label":"pop"},"pop_2958":{"type":"posts","id":"pop_2958","meta":{"index":"posts_1591205157","site":"pop","id":"2958","score":null,"sort":[1364226573000]},"guestAuthors":[],"slug":"r-kelly-plus-bjork-and-other-unexpected-musical-marriages","title":"R. Kelly Plus Bjork and Other Unexpected Musical Marriages","publishDate":1364226573,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>So, as you may have heard, R. Kelly and Bjork are going to do a full set together at this year's Pitchfork music festival in Chicago, July 19-21. According to \u003ca href=\"http://thoughtcatalog.com/2013/r-kelly-and-bjork-to-perform-together-in-once-in-a-lifetime-pitchfork-fest-2013-joint-set/\">Thought Catalog\u003c/a>, R. Kelly had this to say of the performance: \"“It’s gonna be funky you know. She do what she do, and I do what I do. I like her style. I think I can bring a little of what \u003cem>I\u003c/em> do to what \u003cem>she\u003c/em> do. And you’re gonna like it. We just gonna have fun. So bring all yo friends. Tell them there’s this Icelandic lady, and it’s Kellz, and we’re gonna get down.”\u003c/p>\n\u003cp>American culture can be real \"Gemini\" sometimes. On the one hand, we don't like people of different sorts mixing too much, and we pass all kinds of laws and perpetuate social practices that make sure everyone stays in their own lane as much as possible. On the other hand, we also love collaborations between unlikely pairs -- perhaps in part because it's a little taboo?\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=ur1N3UyT1lE&w=420&h=315]\u003c/div>\n\u003cp>I remember back when this country cover of Snoop Dogg's \"Gin & Juice\" by The Gourds came out, people thought it was SO FUNNY. Like, OMG country music and hip hop, what could be more different? Nothing! Well... sorta. The stereotype is that black people listen to hip hop, and poor white people listen to country music, and also that black people don't like white people and that poor white people are more racist than other kinds of white people. With this as a foundation, when there's a \"redneck version\" of Gin & Juice, we are surprised! Of course, the truth is, country and hip-hop both have roots in blues music, and poor white people and black people have a lot of parallel struggles in this nation -- it makes sense both groups would relate to each other's music.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=6XTXHvae10o&w=560&h=315]\u003c/div>\n\u003cp>One of my favorite hip-hop x country moments is this awesome cover of \"Irreplaceable\" by Sugarland, in which Queen Bey makes a surprise appearance. I remember reading somewhere that when Neyo wrote the song, he set out specifically to do an R&B version of a country song. He also wrote it thinking a man would sing it. Anyway, while this clip does make me feel a little bad for Sugarland's Jennifer Nettles when Beyonce kind of slays her vocally, I also get a real girl-power-sisterhood-across-cultures feeling when I watch this video.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=1FzD41pWIzo&w=560&h=315]\u003c/div>\n\u003cp>Circling back to R. Kelly, I recently came across this clip of Joseph Gordon-Levitt covering \"Remix\" to Ignition on acoustic guitar. Now, while country music and R&B and hip-hop are like, genetic cousins from fueding families, JGL's brand of hipster ukelele music really does feel disconnected from R. Kelly's musically sophisticated lyrically vulgar bump & grind R&B. Also, hipsters love things that are \"random,\" and probably are nostalgic for the turn-of-the-century, when they were young and listening to Top 40 before they discovered \"real\" music. While my scare-quotes and sarcasm may lead you to correctly assume that I find this particular kind of nostalgia condescending and obnoxious, I happen to also be totally-crushed-out on JGL in all his surrogate-lesbian glory, which I think makes me automatically some percent hipster.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED, what unexpected collaborations do you love? Tell us in the comments!\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Is our love of unexpected collaborations related to the taboo?","status":"publish","parent":0,"modified":1552089841,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":637},"headData":{"title":"R. Kelly Plus Bjork and Other Unexpected Musical Marriages | KQED","description":"Is our love of unexpected collaborations related to the taboo?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"2958 http://blogs.kqed.org/pop/?p=2958","disqusUrl":"https://ww2.kqed.org/pop/2013/03/25/r-kelly-plus-bjork-and-other-unexpected-musical-marriages/","disqusTitle":"R. Kelly Plus Bjork and Other Unexpected Musical Marriages","path":"/pop/2958/r-kelly-plus-bjork-and-other-unexpected-musical-marriages","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>So, as you may have heard, R. Kelly and Bjork are going to do a full set together at this year's Pitchfork music festival in Chicago, July 19-21. According to \u003ca href=\"http://thoughtcatalog.com/2013/r-kelly-and-bjork-to-perform-together-in-once-in-a-lifetime-pitchfork-fest-2013-joint-set/\">Thought Catalog\u003c/a>, R. Kelly had this to say of the performance: \"“It’s gonna be funky you know. She do what she do, and I do what I do. I like her style. I think I can bring a little of what \u003cem>I\u003c/em> do to what \u003cem>she\u003c/em> do. And you’re gonna like it. We just gonna have fun. So bring all yo friends. Tell them there’s this Icelandic lady, and it’s Kellz, and we’re gonna get down.”\u003c/p>\n\u003cp>American culture can be real \"Gemini\" sometimes. On the one hand, we don't like people of different sorts mixing too much, and we pass all kinds of laws and perpetuate social practices that make sure everyone stays in their own lane as much as possible. On the other hand, we also love collaborations between unlikely pairs -- perhaps in part because it's a little taboo?\u003c/p>\n\u003cdiv class=\"single-video\">\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/ur1N3UyT1lE'\n title='//www.youtube.com/embed/ur1N3UyT1lE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>I remember back when this country cover of Snoop Dogg's \"Gin & Juice\" by The Gourds came out, people thought it was SO FUNNY. Like, OMG country music and hip hop, what could be more different? Nothing! Well... sorta. The stereotype is that black people listen to hip hop, and poor white people listen to country music, and also that black people don't like white people and that poor white people are more racist than other kinds of white people. With this as a foundation, when there's a \"redneck version\" of Gin & Juice, we are surprised! Of course, the truth is, country and hip-hop both have roots in blues music, and poor white people and black people have a lot of parallel struggles in this nation -- it makes sense both groups would relate to each other's music.\u003c/p>\n\u003cdiv class=\"single-video\">\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/6XTXHvae10o'\n title='//www.youtube.com/embed/6XTXHvae10o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>One of my favorite hip-hop x country moments is this awesome cover of \"Irreplaceable\" by Sugarland, in which Queen Bey makes a surprise appearance. I remember reading somewhere that when Neyo wrote the song, he set out specifically to do an R&B version of a country song. He also wrote it thinking a man would sing it. Anyway, while this clip does make me feel a little bad for Sugarland's Jennifer Nettles when Beyonce kind of slays her vocally, I also get a real girl-power-sisterhood-across-cultures feeling when I watch this video.\u003c/p>\n\u003cdiv class=\"single-video\">\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/1FzD41pWIzo'\n title='//www.youtube.com/embed/1FzD41pWIzo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>Circling back to R. Kelly, I recently came across this clip of Joseph Gordon-Levitt covering \"Remix\" to Ignition on acoustic guitar. Now, while country music and R&B and hip-hop are like, genetic cousins from fueding families, JGL's brand of hipster ukelele music really does feel disconnected from R. Kelly's musically sophisticated lyrically vulgar bump & grind R&B. Also, hipsters love things that are \"random,\" and probably are nostalgic for the turn-of-the-century, when they were young and listening to Top 40 before they discovered \"real\" music. While my scare-quotes and sarcasm may lead you to correctly assume that I find this particular kind of nostalgia condescending and obnoxious, I happen to also be totally-crushed-out on JGL in all his surrogate-lesbian glory, which I think makes me automatically some percent hipster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>KQED, what unexpected collaborations do you love? Tell us in the comments!\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/2958/r-kelly-plus-bjork-and-other-unexpected-musical-marriages","authors":["2427"],"categories":["pop_7","pop_4"],"tags":["pop_465","pop_464","pop_469","pop_463","pop_466","pop_468","pop_467"],"featImg":"pop_2966","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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