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News","labelTerm":{"site":"news"},"content":"\u003cp>[dropcap]I[/dropcap]t’s been quite a year. So much happened, and we experienced most of it in isolation. We transformed our homes into offices, schools and sometimes mask-making factories. We absorbed moments of violence, solidarity and great compassion through screens rather than face to face. But whether or not we were able to join marches for racial justice or comfort our far-flung loved ones in person, we were more connected than ever before by a shared global condition: the coronavirus pandemic.\u003c/p>\n\u003cp>Looking back on 2020, it’s hard to comprehend that an entire year has gone by. Throughout these 12 months, KQED’s visual journalist Beth LaBerge has captured many of the moments that will define our memories of this year in the Bay Area. With the hope of vaccinations ahead, there is so much to be done in 2021, but more than anything, this collection of images reminds me of how capable we are. \u003cem>–Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851473\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/028_KQED_SanFrancisco_WomensMarch_01182020-e1608238002800.jpg\" alt=\"\" width=\"1920\" height=\"1278\" />\u003c/p>\n\u003cp>The San Francisco Women’s March heads down Market Street toward the Embarcadero on Jan. 18, 2020. Thousands of people joined in the fourth annual protest with the theme of “Together We Rise,” emphasizing the importance of voting out Trump in the November election. \u003ca href=\"https://www.kqed.org/news/11796942/photos-2020-womens-marches-from-around-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851456\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/001_KQED_SanFrancisco_ClayTheaterRockyHorror_01262020-e1608238056615.jpg\" alt=\"\" width=\"1920\" height=\"1278\" />\u003c/p>\n\u003cp>Rice flies in the air during the wedding scene in \"The Rocky Horror Picture Show\" amid a sold-out performance at the Clay Theatre on Jan. 25, 2020.\u003c/p>\n\u003cp>Many theaters don’t like to host the film due to the mess and late-night debauchery. The Clay welcomed the cast back in 2007 when no other theater was playing the film. This midnight movie performance was the last for the theater, which shut its doors on Jan. 26, 2020, after 110 years. \u003ca href=\"https://www.kqed.org/news/11797562/last-picture-show-historic-sf-theater-plays-its-final-midnight-movie\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851457\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/002_KQED_SanFrancisco_EmptyShelves_03152020-e1608238177955.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>A man reads a sign on an empty shelf once occupied by paper products notifying customers that toilet paper is restricted to one package per person at a Target in Colma on March 15, 2020.\u003c/p>\n\u003cp>Fears over COVID-19 and a shelter-in-place order that took effect in the Bay Area on March 17 contributed to people panic-buying household products. \u003ca href=\"https://www.kqed.org/news/11805625/coronavirus-in-the-bay-area-your-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851458\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/003_KQED_SanFrancisco_ClayTheaterRockyHorror_01262020-2-e1608238354200.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Jayson Naona, a biotech technician with Cure Biomedical, tests ventilator functionality at Bloom Energy in Sunnyvale on March 28, 2020.\u003c/p>\n\u003cp>Bloom Energy is a fuel cell generator company that switched over to refurbishing ventilators as an increasing number of patients experienced respiratory issues as a result of COVID-19. \u003ca href=\"https://www.kqed.org/news/11809502/photos-gov-newsom-and-san-jose-mayor-sam-liccardo-tour-ventilator-refurbishing-site\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851459\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/006_KQED_DalyCity_SetonProtest_04022020-e1608238414588.jpg\" alt=\"\" width=\"1920\" height=\"1278\" />\u003c/p>\n\u003cp>Seton Medical Center employees practice safe distancing at a rally at the hospital in Daly City on April 2, 2020, to bring awareness to their need for more protective equipment.\u003c/p>\n\u003cp>“Nurses and front-line health care providers, we want to work, we want to be able to take care of patients,” said intensive care nurse Phoebe Minkler. “But we also have to be able to take care of ourselves and stay safe.” \u003ca href=\"https://www.kqed.org/news/11810376/nurses-at-daly-city-coronavirus-hospital-sound-alarm-over-shortage-of-n95-masks-medical-supplies\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851472\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/026_KQED_SanFrancisco_Chinatown_05052020-e1608238521596.jpg\" alt=\"\" width=\"1920\" height=\"1278\" />\u003c/p>\n\u003cp>A staff member at Chinatown Community Development Center helps to distribute meals at New Asia restaurant in San Francisco’s Chinatown on April 5, 2020.\u003c/p>\n\u003cp>CCDC partnered with New Asia to form the Community Kitchen Meal Take-out Program, which provides 700 take-out meals to families in SROs, five days a week. \u003ca href=\"https://www.kqed.org/news/11816116/chinatown-housing-group-feeds-vulnerable-sro-tenants-by-reviving-legacy-restaurants\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851460\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/008_KQED_SanFrancisco_TentEncampments_05052020-e1608238664359.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>A man wears an American flag in front of tents lining Fulton Street near City Hall in San Francisco on May 5, 2020, just days before the first city-sanctioned open-air tent encampment took their place.\u003c/p>\n\u003cp>These “Safe Sleeping Sites” would be a place for unhoused people to be socially distant during the COVID-19 pandemic while also providing services such as bathrooms, showers and food. \u003ca href=\"https://www.kqed.org/news/11816648/sf-used-to-trash-homeless-tents-now-the-city-will-sanction-these-safe-sleeping-sites\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851461\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/009_KQED_Oakland_BriannaNoble_05292020-e1608235487751.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Brianna Noble rides her horse Dapper Dan down Broadway in Oakland on May 29, 2020 during a protest over the Minneapolis police killing of George Floyd. \u003ca href=\"https://www.kqed.org/news/11822227/oaklands-protest-rider-on-why-she-took-to-horseback-for-george-floyd\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851462\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/012_KQED_Oakland_Juneteenth_06192020-e1608238932730.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Political activist, scholar and author Angela Davis addresses the assembled crowd at the June 19 Juneteenth rally at the Port of Oakland, which was shut down to mark the day.\u003c/p>\n\u003cp>“Thank you for shutting down the ports today, on Juneteenth ... the day when we renew our commitment to the struggle for freedom,” she said. \u003ca href=\"https://www.kqed.org/news/11825274/updates-bay-area-honors-juneteenth-on-the-streets\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851566\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/001_KQED_PhilipMelendez_07252020-e1608238981912.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Philip Melendez touches up a haircut that he gave to himself at his home on July 25, 2020. He learned to cut his own hair while in prison, which has helped him adapt to life during a pandemic.\u003c/p>\n\u003cp>Melendez is currently a program director for \u003ca href=\"https://restorecal.org/ourstory/\" target=\"_blank\" rel=\"noopener noreferrer\">Re:Store Justice\u003c/a>, an organization working toward what they term “restorative policy change.” The group brings together those who have been convicted of homicide to meet with family members of homicide victims. \u003ca href=\"https://www.kqed.org/news/11832910/released-from-san-quentin-rebuilding-their-lives\">Read more.\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851463\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/013_KQED_Vacaville_LNULightningComplexFire_08192020-e1608239041696.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>A firefighter battles the LNU Lightning Complex blaze as it engulfs a home off Pleasants Valley Road near Vacaville on Aug. 19, 2020.\u003c/p>\n\u003cp>A series of wildfires sparked by lightning beginning on Aug. 16 spread rapidly across wide stretches of the outer Bay Area as fire crews contended with high winds, dry air and triple-digit temperatures amid an extended heat wave. \u003ca href=\"https://www.kqed.org/news/11834452/tens-of-thousands-flee-as-wildfires-rip-across-northern-california\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851464\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/015_KQED_SanFrancisco_OrangeSky_09092020-e1608239083247.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>A surfer catches a wave at Ocean Beach in San Francisco under an orange-red sky on Sept. 9, 2020.\u003c/p>\n\u003cp>Dense smoke plumes from multiple large wildfires burning in parts of Northern California and Oregon blocked out the sun, covering the Bay Area in a surreal orange glow. \u003ca href=\"https://www.kqed.org/arts/13886045/people-are-surfing-under-smoky-orange-skies-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851465\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/016_KQED_BigBasin_Fire_09102020-e1608239135432.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Sandra Raya, senior park aide for interpreters, looks at burned redwood branches at Big Basin Redwoods State Park on Sept. 10, 2020.\u003c/p>\n\u003cp>The CZU Lightning Complex wildfire tore through the park in August, forcing its closure. Most of the redwoods in the park withstood the blaze, and now efforts are in place to re-imagine the park for the future, including addressing climate change and inclusivity for its visitors. \u003ca href=\"https://www.kqed.org/news/11837196/after-fire-a-charred-big-basin-looks-to-the-future-and-new-life\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851466\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/017_KQED_Oakland_WatsonFamily_09162020-e1608239180149.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Halima Watson attends school from her home in Oakland on Sept. 16, 2020. She is an eighth-grader at Edna Brewer Middle school who says of all her distance learning classes, math has been the best. She balances her school work with online zoomed gymnastics classes five days a week and biking with her family for exercise.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851485\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/032_KQED_Oakland_BreonnaTaylorRally_09242020-e1608239255286.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Venus Morris, SHADE advocate, speaks out against police killings in front of a Breonna Taylor mural on 15th Street and Broadway in Oakland on Sept. 24, 2020.\u003c/p>\n\u003cp>“We’ve straightened our hair, we’ve code switched, what more do you want?” she said. \u003ca href=\"https://www.kqed.org/news/11839529/war-on-us-black-women-rally-in-oakland-for-breonna-taylor\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851467\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/019_KQED_Oakland_RegistrarofVoters_10272020-e1608239314523.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Henok Welday and his son Nathan drop off a mail-in ballot at the Alameda County Registrar of Voters in Oakland on Oct. 27, 2020.\u003c/p>\n\u003cp>“We are all human beings. I would like the chance that I’ve been given here to be given to other people too,” said Welday, who fled an Eritrean regime accused by the United Nations of crimes against humanity. “People may have no other choice than to leave their countries and seek a better life here.” \u003ca href=\"https://www.kqed.org/news/11844635/trump-focused-on-restricting-immigration-how-are-bay-area-immigrant-voters-responding\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851469\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/020_KQED_Oakland_COVIDTesting_10312020-e1608239391102.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Joy Kirkwood, an outreach specialist at LifeLong Medical Care, receives a COVID-19 test at Acts Full Gospel Church in Oakland on Oct. 31, 2020.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851470\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_SanFrancisco_BidenHarrisCelebration_11072020-e1608239553685.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Hundreds of supporters of President-elect Joe Biden and Vice President-elect Kamala Harris take to the streets of the Castro neighborhood in San Francisco on Nov. 7, 2020 to celebrate their victory.\u003c/p>\n\u003cp>“Today is a day for celebration and joy, and tomorrow we get back to the fight,” said Ariel Ajagu. \u003ca href=\"https://www.kqed.org/news/11846482/bay-area-celebrates-biden-harris-win-this-weekend\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851471\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/024_KQED_Oakland_BidenHarrisCelebration_11072020-e1608239608355.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Oakland’s Grand Lake Theater marquee reads “America just told Trump, you’re fired!” on Nov. 7, 2020, after victory was announced for President-elect Joe Biden and Vice President-elect Kamala Harris. \u003ca href=\"https://www.kqed.org/news/11846896/its-important-that-we-celebrate-how-the-bay-area-savored-a-biden-harris-victory\">Read more.\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851575\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020.jpg\" alt=\"\" width=\"1866\" height=\"1243\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020.jpg 1866w, https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020-1536x1023.jpg 1536w\" sizes=\"(max-width: 1866px) 100vw, 1866px\" />\u003c/p>\n\u003cp>Lauren reads a book behind a plexiglass divider at The Little’s Daycare run out of the home of Katina Richardson in Hayward on Dec. 15, 2020.\u003c/p>\n\u003cp>During the pandemic, Richardson has been tasked with caring for more children and taking on responsibilities she didn’t have before, like making sure school-age children complete assignments. She’s managed to stay open, but says it’s a stressful time. \u003ca href=\"https://www.kqed.org/news/11851365/californias-child-care-providers-largely-on-their-own-to-struggle-through-pandemic\">Read more.\u003c/a>\u003c/p>\n","blocks":[],"excerpt":"Look back on a year like no other through the lens of KQED visual journalist Beth LaBerge.","status":"publish","parent":0,"modified":1608325759,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":57,"wordCount":1322},"headData":{"title":"20 Photos That Defined the Bay Area in 2020 | KQED","description":"Look back on a year like no other through the lens of KQED visual journalist Beth LaBerge.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"20 Photos That Defined the Bay Area in 2020","datePublished":"2020-12-17T22:24:53.000Z","dateModified":"2020-12-18T21:09:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11851450 https://ww2.kqed.org/news/?p=11851450","disqusUrl":"https://ww2.kqed.org/news/2020/12/17/20-photos-that-defined-the-bay-area-in-2020/","disqusTitle":"20 Photos That Defined the Bay Area in 2020","templateType":"standard","featuredImageType":"standard","path":"/news/11851450/20-photos-that-defined-the-bay-area-in-2020","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t’s been quite a year. So much happened, and we experienced most of it in isolation. We transformed our homes into offices, schools and sometimes mask-making factories. We absorbed moments of violence, solidarity and great compassion through screens rather than face to face. But whether or not we were able to join marches for racial justice or comfort our far-flung loved ones in person, we were more connected than ever before by a shared global condition: the coronavirus pandemic.\u003c/p>\n\u003cp>Looking back on 2020, it’s hard to comprehend that an entire year has gone by. Throughout these 12 months, KQED’s visual journalist Beth LaBerge has captured many of the moments that will define our memories of this year in the Bay Area. With the hope of vaccinations ahead, there is so much to be done in 2021, but more than anything, this collection of images reminds me of how capable we are. \u003cem>–Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851473\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/028_KQED_SanFrancisco_WomensMarch_01182020-e1608238002800.jpg\" alt=\"\" width=\"1920\" height=\"1278\" />\u003c/p>\n\u003cp>The San Francisco Women’s March heads down Market Street toward the Embarcadero on Jan. 18, 2020. Thousands of people joined in the fourth annual protest with the theme of “Together We Rise,” emphasizing the importance of voting out Trump in the November election. \u003ca href=\"https://www.kqed.org/news/11796942/photos-2020-womens-marches-from-around-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851456\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/001_KQED_SanFrancisco_ClayTheaterRockyHorror_01262020-e1608238056615.jpg\" alt=\"\" width=\"1920\" height=\"1278\" />\u003c/p>\n\u003cp>Rice flies in the air during the wedding scene in \"The Rocky Horror Picture Show\" amid a sold-out performance at the Clay Theatre on Jan. 25, 2020.\u003c/p>\n\u003cp>Many theaters don’t like to host the film due to the mess and late-night debauchery. The Clay welcomed the cast back in 2007 when no other theater was playing the film. This midnight movie performance was the last for the theater, which shut its doors on Jan. 26, 2020, after 110 years. \u003ca href=\"https://www.kqed.org/news/11797562/last-picture-show-historic-sf-theater-plays-its-final-midnight-movie\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851457\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/002_KQED_SanFrancisco_EmptyShelves_03152020-e1608238177955.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>A man reads a sign on an empty shelf once occupied by paper products notifying customers that toilet paper is restricted to one package per person at a Target in Colma on March 15, 2020.\u003c/p>\n\u003cp>Fears over COVID-19 and a shelter-in-place order that took effect in the Bay Area on March 17 contributed to people panic-buying household products. \u003ca href=\"https://www.kqed.org/news/11805625/coronavirus-in-the-bay-area-your-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851458\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/003_KQED_SanFrancisco_ClayTheaterRockyHorror_01262020-2-e1608238354200.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Jayson Naona, a biotech technician with Cure Biomedical, tests ventilator functionality at Bloom Energy in Sunnyvale on March 28, 2020.\u003c/p>\n\u003cp>Bloom Energy is a fuel cell generator company that switched over to refurbishing ventilators as an increasing number of patients experienced respiratory issues as a result of COVID-19. \u003ca href=\"https://www.kqed.org/news/11809502/photos-gov-newsom-and-san-jose-mayor-sam-liccardo-tour-ventilator-refurbishing-site\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851459\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/006_KQED_DalyCity_SetonProtest_04022020-e1608238414588.jpg\" alt=\"\" width=\"1920\" height=\"1278\" />\u003c/p>\n\u003cp>Seton Medical Center employees practice safe distancing at a rally at the hospital in Daly City on April 2, 2020, to bring awareness to their need for more protective equipment.\u003c/p>\n\u003cp>“Nurses and front-line health care providers, we want to work, we want to be able to take care of patients,” said intensive care nurse Phoebe Minkler. “But we also have to be able to take care of ourselves and stay safe.” \u003ca href=\"https://www.kqed.org/news/11810376/nurses-at-daly-city-coronavirus-hospital-sound-alarm-over-shortage-of-n95-masks-medical-supplies\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851472\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/026_KQED_SanFrancisco_Chinatown_05052020-e1608238521596.jpg\" alt=\"\" width=\"1920\" height=\"1278\" />\u003c/p>\n\u003cp>A staff member at Chinatown Community Development Center helps to distribute meals at New Asia restaurant in San Francisco’s Chinatown on April 5, 2020.\u003c/p>\n\u003cp>CCDC partnered with New Asia to form the Community Kitchen Meal Take-out Program, which provides 700 take-out meals to families in SROs, five days a week. \u003ca href=\"https://www.kqed.org/news/11816116/chinatown-housing-group-feeds-vulnerable-sro-tenants-by-reviving-legacy-restaurants\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851460\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/008_KQED_SanFrancisco_TentEncampments_05052020-e1608238664359.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>A man wears an American flag in front of tents lining Fulton Street near City Hall in San Francisco on May 5, 2020, just days before the first city-sanctioned open-air tent encampment took their place.\u003c/p>\n\u003cp>These “Safe Sleeping Sites” would be a place for unhoused people to be socially distant during the COVID-19 pandemic while also providing services such as bathrooms, showers and food. \u003ca href=\"https://www.kqed.org/news/11816648/sf-used-to-trash-homeless-tents-now-the-city-will-sanction-these-safe-sleeping-sites\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851461\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/009_KQED_Oakland_BriannaNoble_05292020-e1608235487751.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Brianna Noble rides her horse Dapper Dan down Broadway in Oakland on May 29, 2020 during a protest over the Minneapolis police killing of George Floyd. \u003ca href=\"https://www.kqed.org/news/11822227/oaklands-protest-rider-on-why-she-took-to-horseback-for-george-floyd\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851462\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/012_KQED_Oakland_Juneteenth_06192020-e1608238932730.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Political activist, scholar and author Angela Davis addresses the assembled crowd at the June 19 Juneteenth rally at the Port of Oakland, which was shut down to mark the day.\u003c/p>\n\u003cp>“Thank you for shutting down the ports today, on Juneteenth ... the day when we renew our commitment to the struggle for freedom,” she said. \u003ca href=\"https://www.kqed.org/news/11825274/updates-bay-area-honors-juneteenth-on-the-streets\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851566\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/001_KQED_PhilipMelendez_07252020-e1608238981912.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Philip Melendez touches up a haircut that he gave to himself at his home on July 25, 2020. He learned to cut his own hair while in prison, which has helped him adapt to life during a pandemic.\u003c/p>\n\u003cp>Melendez is currently a program director for \u003ca href=\"https://restorecal.org/ourstory/\" target=\"_blank\" rel=\"noopener noreferrer\">Re:Store Justice\u003c/a>, an organization working toward what they term “restorative policy change.” The group brings together those who have been convicted of homicide to meet with family members of homicide victims. \u003ca href=\"https://www.kqed.org/news/11832910/released-from-san-quentin-rebuilding-their-lives\">Read more.\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851463\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/013_KQED_Vacaville_LNULightningComplexFire_08192020-e1608239041696.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>A firefighter battles the LNU Lightning Complex blaze as it engulfs a home off Pleasants Valley Road near Vacaville on Aug. 19, 2020.\u003c/p>\n\u003cp>A series of wildfires sparked by lightning beginning on Aug. 16 spread rapidly across wide stretches of the outer Bay Area as fire crews contended with high winds, dry air and triple-digit temperatures amid an extended heat wave. \u003ca href=\"https://www.kqed.org/news/11834452/tens-of-thousands-flee-as-wildfires-rip-across-northern-california\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851464\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/015_KQED_SanFrancisco_OrangeSky_09092020-e1608239083247.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>A surfer catches a wave at Ocean Beach in San Francisco under an orange-red sky on Sept. 9, 2020.\u003c/p>\n\u003cp>Dense smoke plumes from multiple large wildfires burning in parts of Northern California and Oregon blocked out the sun, covering the Bay Area in a surreal orange glow. \u003ca href=\"https://www.kqed.org/arts/13886045/people-are-surfing-under-smoky-orange-skies-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851465\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/016_KQED_BigBasin_Fire_09102020-e1608239135432.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Sandra Raya, senior park aide for interpreters, looks at burned redwood branches at Big Basin Redwoods State Park on Sept. 10, 2020.\u003c/p>\n\u003cp>The CZU Lightning Complex wildfire tore through the park in August, forcing its closure. Most of the redwoods in the park withstood the blaze, and now efforts are in place to re-imagine the park for the future, including addressing climate change and inclusivity for its visitors. \u003ca href=\"https://www.kqed.org/news/11837196/after-fire-a-charred-big-basin-looks-to-the-future-and-new-life\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851466\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/017_KQED_Oakland_WatsonFamily_09162020-e1608239180149.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Halima Watson attends school from her home in Oakland on Sept. 16, 2020. She is an eighth-grader at Edna Brewer Middle school who says of all her distance learning classes, math has been the best. She balances her school work with online zoomed gymnastics classes five days a week and biking with her family for exercise.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851485\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/032_KQED_Oakland_BreonnaTaylorRally_09242020-e1608239255286.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Venus Morris, SHADE advocate, speaks out against police killings in front of a Breonna Taylor mural on 15th Street and Broadway in Oakland on Sept. 24, 2020.\u003c/p>\n\u003cp>“We’ve straightened our hair, we’ve code switched, what more do you want?” she said. \u003ca href=\"https://www.kqed.org/news/11839529/war-on-us-black-women-rally-in-oakland-for-breonna-taylor\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851467\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/019_KQED_Oakland_RegistrarofVoters_10272020-e1608239314523.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Henok Welday and his son Nathan drop off a mail-in ballot at the Alameda County Registrar of Voters in Oakland on Oct. 27, 2020.\u003c/p>\n\u003cp>“We are all human beings. I would like the chance that I’ve been given here to be given to other people too,” said Welday, who fled an Eritrean regime accused by the United Nations of crimes against humanity. “People may have no other choice than to leave their countries and seek a better life here.” \u003ca href=\"https://www.kqed.org/news/11844635/trump-focused-on-restricting-immigration-how-are-bay-area-immigrant-voters-responding\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851469\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/020_KQED_Oakland_COVIDTesting_10312020-e1608239391102.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Joy Kirkwood, an outreach specialist at LifeLong Medical Care, receives a COVID-19 test at Acts Full Gospel Church in Oakland on Oct. 31, 2020.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851470\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_SanFrancisco_BidenHarrisCelebration_11072020-e1608239553685.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Hundreds of supporters of President-elect Joe Biden and Vice President-elect Kamala Harris take to the streets of the Castro neighborhood in San Francisco on Nov. 7, 2020 to celebrate their victory.\u003c/p>\n\u003cp>“Today is a day for celebration and joy, and tomorrow we get back to the fight,” said Ariel Ajagu. \u003ca href=\"https://www.kqed.org/news/11846482/bay-area-celebrates-biden-harris-win-this-weekend\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851471\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/024_KQED_Oakland_BidenHarrisCelebration_11072020-e1608239608355.jpg\" alt=\"\" width=\"1920\" height=\"1280\" />\u003c/p>\n\u003cp>Oakland’s Grand Lake Theater marquee reads “America just told Trump, you’re fired!” on Nov. 7, 2020, after victory was announced for President-elect Joe Biden and Vice President-elect Kamala Harris. \u003ca href=\"https://www.kqed.org/news/11846896/its-important-that-we-celebrate-how-the-bay-area-savored-a-biden-harris-victory\">Read more.\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-11851575\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020.jpg\" alt=\"\" width=\"1866\" height=\"1243\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020.jpg 1866w, https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/12/021_KQED_Hayward_Daycare_12152020-1536x1023.jpg 1536w\" sizes=\"(max-width: 1866px) 100vw, 1866px\" />\u003c/p>\n\u003cp>Lauren reads a book behind a plexiglass divider at The Little’s Daycare run out of the home of Katina Richardson in Hayward on Dec. 15, 2020.\u003c/p>\n\u003cp>During the pandemic, Richardson has been tasked with caring for more children and taking on responsibilities she didn’t have before, like making sure school-age children complete assignments. She’s managed to stay open, but says it’s a stressful time. \u003ca href=\"https://www.kqed.org/news/11851365/californias-child-care-providers-largely-on-their-own-to-struggle-through-pandemic\">Read more.\u003c/a>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11851450/20-photos-that-defined-the-bay-area-in-2020","authors":["11667"],"categories":["news_223","news_8"],"tags":["news_28939","news_18538","news_27626","news_2672"],"featImg":"news_11851461","label":"news"},"arts_13889948":{"type":"posts","id":"arts_13889948","meta":{"index":"posts_1591205157","site":"arts","id":"13889948","score":null,"sort":[1608233415000]},"guestAuthors":[],"slug":"2020-the-year-small-pleasures-finally-eclipsed-celebrity-culture","title":"2020: The Year Small Pleasures Finally Eclipsed Celebrity Culture","publishDate":1608233415,"format":"standard","headTitle":"2020: The Year Small Pleasures Finally Eclipsed Celebrity Culture | KQED","labelTerm":{},"content":"\u003cp>If you’re looking for a perfect encapsulation of what happened to celebrity culture in 2020, look no further than this Twitter thread that emerged last week.\u003c/p>\n\u003cp>https://twitter.com/warrenleightTV/status/1336817740078845955\u003c/p>\n\u003cp>https://twitter.com/warrenleightTV/status/1336817747699904512\u003c/p>\n\u003cp>https://twitter.com/warrenleightTV/status/1336817757455872005\u003c/p>\n\u003cp>Enthusiastic bird watching is nothing new, of course, especially in New York City. But in December 2020, seeing a large group of photographers raving over a bird instead of a celebrity isn’t just less surprising than it would’ve been in January, it’s somehow infinitely more relatable. Because as everyone has struggled to keep their heads above the proverbial flood waters for the last 10 months, these kinds of small pleasures have dominated all of our lives. And they’ve come remarkably close to decimating celebrity culture as a national pastime.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There can be no doubt that 2020 has forced us to reevaluate all priorities: our careers, homes, families, relationships—even \u003ca href=\"https://www.kqed.org/arts/13883244/how-sheltering-in-place-is-shifting-womens-beauty-standards\" target=\"_blank\" rel=\"noopener noreferrer\">our appearances\u003c/a>. But caring about celebrities was one of the very first things to go by the wayside when normal life unceremoniously shut down in March.\u003c/p>\n\u003cp>It’s not hard to pinpoint the exact moment when we turned our backs either. It was this:\u003c/p>\n\u003cp>https://twitter.com/ashleyfeinberg/status/1240484129222856705\u003c/p>\n\u003cp>Gal Gadot et al.’s ill-advised, cringe-worthy, patronizing, self-indulgent response to a global pandemic was a cold bucket of water on the head, at the precise moment we neither wanted nor needed one. But it also woke us up. Overnight, celebrity culture went from providing a casual mental escape to being so far beyond the realms of real—the real stress, real fear, real discomfort we were all feeling—that it became utterly and instantaneously unpalatable. [aside postid='arts_13877066']\u003c/p>\n\u003cp>That was exacerbated by celebrities telling us how to handle the pandemic from the comforts of their \u003ca href=\"https://www.instagram.com/tv/B92YsciHcUu/\" target=\"_blank\" rel=\"noopener noreferrer\">mansions\u003c/a>, their \u003ca href=\"https://www.youtube.com/watch?v=4HtpM7XvUnQ\" target=\"_blank\" rel=\"noopener noreferrer\">hot tubs\u003c/a>, their \u003ca href=\"https://www.instagram.com/p/B90q7dpAnHW\" target=\"_blank\" rel=\"noopener noreferrer\">meditation retreats\u003c/a>, and their \u003ca href=\"https://www.instagram.com/p/B9BxGPqFfpw/\" target=\"_blank\" rel=\"noopener noreferrer\">first-class seats\u003c/a> on \u003ca href=\"https://www.instagram.com/p/B9kwcbPnFPo/\" target=\"_blank\" rel=\"noopener noreferrer\">airplanes\u003c/a>. By the time a group of\u003ca href=\"https://www.kqed.org/arts/13881801/anti-racism-celeb-psa-i-take-responsibility-is-the-new-imagine\" target=\"_blank\" rel=\"noopener noreferrer\"> overwrought white actors declared\u003c/a> in June—in the aftermath of the \u003ca href=\"https://www.kqed.org/news/11823403/george-floyd-anti-racism-and-protests-against-police-violence-echo-globally\" target=\"_blank\" rel=\"noopener noreferrer\">killing of George Floyd\u003c/a>—that they were taking responsibility for turning blind eyes to racial injustice, the public greeted it by collectively rolling theirs. Hell, by the end of 2020, even Ellen DeGeneres—previously one of America’s most beloved TV hosts—was \u003cem>persona non grata, \u003c/em>after allegations of her \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">toxic workplace\u003c/a> emerged.\u003c/p>\n\u003cp>In my role as a pop culture journalist this year, the shift has been palpable. By the end of spring, it was abundantly clear that KQED Arts & Culture readers were suddenly more interested in hearing about \u003ca href=\"https://www.kqed.org/arts/13879872/dont-worry-your-new-jigsaw-puzzle-obsession-is-perfectly-normal\" target=\"_blank\" rel=\"noopener noreferrer\">jigsaw puzzles\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13880317/escaped-goats-in-san-jose-live-out-our-shelter-in-place-fantasies\" target=\"_blank\" rel=\"noopener noreferrer\">escaped goats\u003c/a> than about \u003ca href=\"https://www.kqed.org/arts/13878920/meghan-and-harry-take-stonewalling-uk-tabloids-to-a-new-level\" target=\"_blank\" rel=\"noopener noreferrer\">Harry and Meghan\u003c/a>. (I knew I was really in trouble after a \u003ca href=\"https://www.kqed.org/arts/13877883/dolly-parton-wants-to-read-us-bedtime-stories-so-everything-is-fine-now\" target=\"_blank\" rel=\"noopener noreferrer\">story about Dolly Parton\u003c/a> flopped.) My job, almost overnight, became about self-care and self-contained pastimes that were firmly outside of the realms of the rich and the famous. The upper crust, it seemed, had been rendered largely irrelevant, almost overnight.\u003c/p>\n\u003cp>The public’s relationship with celebrities was further disconnected after the entertainment industry all but ground to a halt. \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">Concert tours were delayed\u003c/a> indefinitely, a shocking number of \u003ca href=\"https://editorial.rottentomatoes.com/article/breakdown-of-2020-movie-delays-and-when-they-will-hit-theaters/\" target=\"_blank\" rel=\"noopener noreferrer\">movie releases were postponed\u003c/a> until 2021, and TV shows either stopped dead in their tracks, or were forced to come up with complicated production solutions. (Oddly, this actually worked to benefit viewers in some cases. \u003cem>The Great British Baking Show\u003c/em>’s quarantined contestants were closer than ever, for one. And in lieu of making Season 2, HBO’s \u003cem>Euphoria\u003c/em> aired a two-person, one-hour\u003ca href=\"https://www.youtube.com/watch?v=uY0_7wPGJlk\" target=\"_blank\" rel=\"noopener noreferrer\"> special\u003c/a> in December that should be remembered as one of the most thought-provoking hours of television … well, \u003cem>ever\u003c/em>.)\u003c/p>\n\u003cp>Another factor influencing our level of interest in famous people was a sudden drop in commuting time across the nation. According to Stanford University economist Nicholas Bloom, since March, almost twice as many \u003ca href=\"https://news.stanford.edu/2020/06/29/snapshot-new-working-home-economy/\" target=\"_blank\" rel=\"noopener noreferrer\">employees are working from home\u003c/a> than those at workplaces. The non-commuters are now 42% of America’s labor force. Without mundane journeys to fill with distractions, workers are less in need of frivolous celebrity tidbits. [aside postid='arts_13879872']\u003c/p>\n\u003cp>The erasure of all those commutes and early morning Starbucks lines undoubtedly contributed to the death of short-form streaming channel \u003ca href=\"https://www.usatoday.com/story/entertainment/tv/2020/10/22/quibi-shuts-down-after-six-months-heres-why/3725358001/\" target=\"_blank\" rel=\"noopener noreferrer\">Quibi\u003c/a>, just six months after it launched. And not even the biggest names on its roster—the likes of Jennifer Lopez, Liam Hemsworth, Queen Latifah, Kevin Hart and Chrissy Teigen—provided enough of a lure to get people to tune in.\u003c/p>\n\u003cp>While Gen Z’s desire for short-form entertainment remained intact, they really only wanted it from TikTok. This was thanks in part to a format that allowed for a sense of community and connection while sheltering in place. On TikTok, the stars weren’t celebrities in the traditional sense either. They were \u003ca href=\"https://www.tiktok.com/@addisonre\">Addison Rae\u003c/a> and \u003ca href=\"https://www.tiktok.com/@bellapoarch\" target=\"_blank\" rel=\"noopener noreferrer\">Bella Poarch\u003c/a>, who currently have 71.1 million and 47.6 million followers respectively, simply for miming while cute. The \u003ca href=\"https://www.tiktok.com/@badwiggies\" target=\"_blank\" rel=\"noopener noreferrer\">Bad Wiggies\u003c/a> (3.4 million followers)—an anonymous trio of Miami girls dancing in empty parking lots—inspired dance moves and fashion choices. And \u003ca href=\"https://www.tiktok.com/@iamtabithabrown\" target=\"_blank\" rel=\"noopener noreferrer\">Tabitha Brown\u003c/a> (4.5 million followers)—a.k.a. “the world’s favorite mom”—provided cooking videos that proved to be both entertaining and soothing.\u003c/p>\n\u003cp>Let’s not forget that TikTok was also the platform that gave us Nathan Apodaca, the \u003ca href=\"https://www.kqed.org/arts/13887427/the-viral-fleetwood-mac-challenge-guy-just-got-10000-in-donations\" target=\"_blank\" rel=\"noopener noreferrer\">skateboarding cranberry juice guy\u003c/a>. Apodaca acted as the ultimate symbol of how regular people stay zen in dire circumstances, and the nation fell in love with him because of it. (Let’s hope the Fleetwood Mac fan can hang onto that spirit as he \u003ca href=\"https://www.billboard.com/articles/columns/pop/9500868/nathan-apodaca-tests-positive-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">battles coronavirus\u003c/a>.)\u003c/p>\n\u003cp>Not even our most famous reality stars could keep up this year. As was evidenced by \u003ca href=\"https://en.wikipedia.org/wiki/KSI_vs._Logan_Paul\" target=\"_blank\" rel=\"noopener noreferrer\">Jake and Logan Paul\u003c/a> moving into amateur boxing, and the \u003ca href=\"https://www.usmagazine.com/entertainment/pictures/kuwtk-ending-everything-the-kardashians-have-said/the-beginning-of-the-end-3/\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashians finally calling it quits\u003c/a> on their TV show. (After 14 years and 20 seasons, no less.) In 2020, between Kim casually mentioning \u003ca href=\"https://twitter.com/KimKardashian/status/1277752179877527554\" target=\"_blank\" rel=\"noopener noreferrer\">North West’s $25,000 Freesian horse\u003c/a>, Kanye announcing Kim had become \u003ca href=\"https://twitter.com/kanyewest/status/1277766033844121601\" target=\"_blank\" rel=\"noopener noreferrer\">a billionaire\u003c/a>, and the now-infamous “\u003ca href=\"https://twitter.com/KimKardashian/status/1321151217482014726\" target=\"_blank\" rel=\"noopener noreferrer\">trip to a private island\u003c/a>,” the family never seemed more out of touch. (Which is an impressive feat considering their track record.) [aside postid='arts_13888949']\u003c/p>\n\u003cp>In the future, when we think about what kept us amused in 2020, we won’t remember movies or TV, we’ll remember the puzzles, the potted plants, the baking and the books. And when we look back and recall the biggest stars of the year, most won’t be from stage and screen. They’ll be the \u003ca href=\"https://www.kron4.com/health/coronavirus/howling-for-healthcare-workers-across-the-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">healthcare\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13885071/watch-that-time-project-runway-tried-to-redesign-the-usps-uniform\" target=\"_blank\" rel=\"noopener noreferrer\">USPS\u003c/a> workers who worked tirelessly to get us through it. They’ll be the \u003ca href=\"https://www.kqed.org/arts/13885235/hit-hard-by-pandemic-youth-of-color-are-leading-activism-new-poll-finds\" target=\"_blank\" rel=\"noopener noreferrer\">teens who organized\u003c/a> and dominated Black Lives Matter marches. And of course we’ll remember \u003ca href=\"https://www.kqed.org/arts/13888949/the-internet-is-very-worried-about-msnbcs-steve-kornacki\" target=\"_blank\" rel=\"noopener noreferrer\">Steve Kornacki and his khakis\u003c/a>, both of which stayed up for days to provide America with up-to-the-minute results during the weirdest election in living memory.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It won’t stay like this forever, of course. In a few years, once we get to a post-coronavirus world, celebrity culture will return. But for now, let’s appreciate the reset 2020 gave us. For 10 months now, instead of following famous people’s lives in our spare time, we’ve become almost entirely focused on our own, down here with everyone else, enduring what is sure to be one of the most stressful years of our lives. What we’ve learned about ourselves in the process will be of more value for years to come than anything the world of celebrity could have conjured.\u003c/p>\n\n","blocks":[],"excerpt":"When we think about what kept us going in 2020, we’ll remember puzzles, plants, baking and books.","status":"publish","parent":0,"modified":1705019721,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1293},"headData":{"title":"2020: The Year Small Pleasures Finally Eclipsed Celebrity Culture | KQED","description":"When we think about what kept us going in 2020, we’ll remember puzzles, plants, baking and books.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"2020: The Year Small Pleasures Finally Eclipsed Celebrity Culture","datePublished":"2020-12-17T19:30:15.000Z","dateModified":"2024-01-12T00:35:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13889948/2020-the-year-small-pleasures-finally-eclipsed-celebrity-culture","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re looking for a perfect encapsulation of what happened to celebrity culture in 2020, look no further than this Twitter thread that emerged last week.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1336817740078845955"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1336817747699904512"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1336817757455872005"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Enthusiastic bird watching is nothing new, of course, especially in New York City. But in December 2020, seeing a large group of photographers raving over a bird instead of a celebrity isn’t just less surprising than it would’ve been in January, it’s somehow infinitely more relatable. Because as everyone has struggled to keep their heads above the proverbial flood waters for the last 10 months, these kinds of small pleasures have dominated all of our lives. And they’ve come remarkably close to decimating celebrity culture as a national pastime.\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>There can be no doubt that 2020 has forced us to reevaluate all priorities: our careers, homes, families, relationships—even \u003ca href=\"https://www.kqed.org/arts/13883244/how-sheltering-in-place-is-shifting-womens-beauty-standards\" target=\"_blank\" rel=\"noopener noreferrer\">our appearances\u003c/a>. But caring about celebrities was one of the very first things to go by the wayside when normal life unceremoniously shut down in March.\u003c/p>\n\u003cp>It’s not hard to pinpoint the exact moment when we turned our backs either. It was this:\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1240484129222856705"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Gal Gadot et al.’s ill-advised, cringe-worthy, patronizing, self-indulgent response to a global pandemic was a cold bucket of water on the head, at the precise moment we neither wanted nor needed one. But it also woke us up. Overnight, celebrity culture went from providing a casual mental escape to being so far beyond the realms of real—the real stress, real fear, real discomfort we were all feeling—that it became utterly and instantaneously unpalatable. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13877066","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was exacerbated by celebrities telling us how to handle the pandemic from the comforts of their \u003ca href=\"https://www.instagram.com/tv/B92YsciHcUu/\" target=\"_blank\" rel=\"noopener noreferrer\">mansions\u003c/a>, their \u003ca href=\"https://www.youtube.com/watch?v=4HtpM7XvUnQ\" target=\"_blank\" rel=\"noopener noreferrer\">hot tubs\u003c/a>, their \u003ca href=\"https://www.instagram.com/p/B90q7dpAnHW\" target=\"_blank\" rel=\"noopener noreferrer\">meditation retreats\u003c/a>, and their \u003ca href=\"https://www.instagram.com/p/B9BxGPqFfpw/\" target=\"_blank\" rel=\"noopener noreferrer\">first-class seats\u003c/a> on \u003ca href=\"https://www.instagram.com/p/B9kwcbPnFPo/\" target=\"_blank\" rel=\"noopener noreferrer\">airplanes\u003c/a>. By the time a group of\u003ca href=\"https://www.kqed.org/arts/13881801/anti-racism-celeb-psa-i-take-responsibility-is-the-new-imagine\" target=\"_blank\" rel=\"noopener noreferrer\"> overwrought white actors declared\u003c/a> in June—in the aftermath of the \u003ca href=\"https://www.kqed.org/news/11823403/george-floyd-anti-racism-and-protests-against-police-violence-echo-globally\" target=\"_blank\" rel=\"noopener noreferrer\">killing of George Floyd\u003c/a>—that they were taking responsibility for turning blind eyes to racial injustice, the public greeted it by collectively rolling theirs. Hell, by the end of 2020, even Ellen DeGeneres—previously one of America’s most beloved TV hosts—was \u003cem>persona non grata, \u003c/em>after allegations of her \u003ca href=\"https://www.buzzfeednews.com/article/krystieyandoli/ellen-employees-allege-toxic-workplace-culture\" target=\"_blank\" rel=\"noopener noreferrer\">toxic workplace\u003c/a> emerged.\u003c/p>\n\u003cp>In my role as a pop culture journalist this year, the shift has been palpable. By the end of spring, it was abundantly clear that KQED Arts & Culture readers were suddenly more interested in hearing about \u003ca href=\"https://www.kqed.org/arts/13879872/dont-worry-your-new-jigsaw-puzzle-obsession-is-perfectly-normal\" target=\"_blank\" rel=\"noopener noreferrer\">jigsaw puzzles\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13880317/escaped-goats-in-san-jose-live-out-our-shelter-in-place-fantasies\" target=\"_blank\" rel=\"noopener noreferrer\">escaped goats\u003c/a> than about \u003ca href=\"https://www.kqed.org/arts/13878920/meghan-and-harry-take-stonewalling-uk-tabloids-to-a-new-level\" target=\"_blank\" rel=\"noopener noreferrer\">Harry and Meghan\u003c/a>. (I knew I was really in trouble after a \u003ca href=\"https://www.kqed.org/arts/13877883/dolly-parton-wants-to-read-us-bedtime-stories-so-everything-is-fine-now\" target=\"_blank\" rel=\"noopener noreferrer\">story about Dolly Parton\u003c/a> flopped.) My job, almost overnight, became about self-care and self-contained pastimes that were firmly outside of the realms of the rich and the famous. The upper crust, it seemed, had been rendered largely irrelevant, almost overnight.\u003c/p>\n\u003cp>The public’s relationship with celebrities was further disconnected after the entertainment industry all but ground to a halt. \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">Concert tours were delayed\u003c/a> indefinitely, a shocking number of \u003ca href=\"https://editorial.rottentomatoes.com/article/breakdown-of-2020-movie-delays-and-when-they-will-hit-theaters/\" target=\"_blank\" rel=\"noopener noreferrer\">movie releases were postponed\u003c/a> until 2021, and TV shows either stopped dead in their tracks, or were forced to come up with complicated production solutions. (Oddly, this actually worked to benefit viewers in some cases. \u003cem>The Great British Baking Show\u003c/em>’s quarantined contestants were closer than ever, for one. And in lieu of making Season 2, HBO’s \u003cem>Euphoria\u003c/em> aired a two-person, one-hour\u003ca href=\"https://www.youtube.com/watch?v=uY0_7wPGJlk\" target=\"_blank\" rel=\"noopener noreferrer\"> special\u003c/a> in December that should be remembered as one of the most thought-provoking hours of television … well, \u003cem>ever\u003c/em>.)\u003c/p>\n\u003cp>Another factor influencing our level of interest in famous people was a sudden drop in commuting time across the nation. According to Stanford University economist Nicholas Bloom, since March, almost twice as many \u003ca href=\"https://news.stanford.edu/2020/06/29/snapshot-new-working-home-economy/\" target=\"_blank\" rel=\"noopener noreferrer\">employees are working from home\u003c/a> than those at workplaces. The non-commuters are now 42% of America’s labor force. Without mundane journeys to fill with distractions, workers are less in need of frivolous celebrity tidbits. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13879872","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The erasure of all those commutes and early morning Starbucks lines undoubtedly contributed to the death of short-form streaming channel \u003ca href=\"https://www.usatoday.com/story/entertainment/tv/2020/10/22/quibi-shuts-down-after-six-months-heres-why/3725358001/\" target=\"_blank\" rel=\"noopener noreferrer\">Quibi\u003c/a>, just six months after it launched. And not even the biggest names on its roster—the likes of Jennifer Lopez, Liam Hemsworth, Queen Latifah, Kevin Hart and Chrissy Teigen—provided enough of a lure to get people to tune in.\u003c/p>\n\u003cp>While Gen Z’s desire for short-form entertainment remained intact, they really only wanted it from TikTok. This was thanks in part to a format that allowed for a sense of community and connection while sheltering in place. On TikTok, the stars weren’t celebrities in the traditional sense either. They were \u003ca href=\"https://www.tiktok.com/@addisonre\">Addison Rae\u003c/a> and \u003ca href=\"https://www.tiktok.com/@bellapoarch\" target=\"_blank\" rel=\"noopener noreferrer\">Bella Poarch\u003c/a>, who currently have 71.1 million and 47.6 million followers respectively, simply for miming while cute. The \u003ca href=\"https://www.tiktok.com/@badwiggies\" target=\"_blank\" rel=\"noopener noreferrer\">Bad Wiggies\u003c/a> (3.4 million followers)—an anonymous trio of Miami girls dancing in empty parking lots—inspired dance moves and fashion choices. And \u003ca href=\"https://www.tiktok.com/@iamtabithabrown\" target=\"_blank\" rel=\"noopener noreferrer\">Tabitha Brown\u003c/a> (4.5 million followers)—a.k.a. “the world’s favorite mom”—provided cooking videos that proved to be both entertaining and soothing.\u003c/p>\n\u003cp>Let’s not forget that TikTok was also the platform that gave us Nathan Apodaca, the \u003ca href=\"https://www.kqed.org/arts/13887427/the-viral-fleetwood-mac-challenge-guy-just-got-10000-in-donations\" target=\"_blank\" rel=\"noopener noreferrer\">skateboarding cranberry juice guy\u003c/a>. Apodaca acted as the ultimate symbol of how regular people stay zen in dire circumstances, and the nation fell in love with him because of it. (Let’s hope the Fleetwood Mac fan can hang onto that spirit as he \u003ca href=\"https://www.billboard.com/articles/columns/pop/9500868/nathan-apodaca-tests-positive-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">battles coronavirus\u003c/a>.)\u003c/p>\n\u003cp>Not even our most famous reality stars could keep up this year. As was evidenced by \u003ca href=\"https://en.wikipedia.org/wiki/KSI_vs._Logan_Paul\" target=\"_blank\" rel=\"noopener noreferrer\">Jake and Logan Paul\u003c/a> moving into amateur boxing, and the \u003ca href=\"https://www.usmagazine.com/entertainment/pictures/kuwtk-ending-everything-the-kardashians-have-said/the-beginning-of-the-end-3/\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashians finally calling it quits\u003c/a> on their TV show. (After 14 years and 20 seasons, no less.) In 2020, between Kim casually mentioning \u003ca href=\"https://twitter.com/KimKardashian/status/1277752179877527554\" target=\"_blank\" rel=\"noopener noreferrer\">North West’s $25,000 Freesian horse\u003c/a>, Kanye announcing Kim had become \u003ca href=\"https://twitter.com/kanyewest/status/1277766033844121601\" target=\"_blank\" rel=\"noopener noreferrer\">a billionaire\u003c/a>, and the now-infamous “\u003ca href=\"https://twitter.com/KimKardashian/status/1321151217482014726\" target=\"_blank\" rel=\"noopener noreferrer\">trip to a private island\u003c/a>,” the family never seemed more out of touch. (Which is an impressive feat considering their track record.) \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13888949","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the future, when we think about what kept us amused in 2020, we won’t remember movies or TV, we’ll remember the puzzles, the potted plants, the baking and the books. And when we look back and recall the biggest stars of the year, most won’t be from stage and screen. They’ll be the \u003ca href=\"https://www.kron4.com/health/coronavirus/howling-for-healthcare-workers-across-the-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">healthcare\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13885071/watch-that-time-project-runway-tried-to-redesign-the-usps-uniform\" target=\"_blank\" rel=\"noopener noreferrer\">USPS\u003c/a> workers who worked tirelessly to get us through it. They’ll be the \u003ca href=\"https://www.kqed.org/arts/13885235/hit-hard-by-pandemic-youth-of-color-are-leading-activism-new-poll-finds\" target=\"_blank\" rel=\"noopener noreferrer\">teens who organized\u003c/a> and dominated Black Lives Matter marches. And of course we’ll remember \u003ca href=\"https://www.kqed.org/arts/13888949/the-internet-is-very-worried-about-msnbcs-steve-kornacki\" target=\"_blank\" rel=\"noopener noreferrer\">Steve Kornacki and his khakis\u003c/a>, both of which stayed up for days to provide America with up-to-the-minute results during the weirdest election in living memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It won’t stay like this forever, of course. In a few years, once we get to a post-coronavirus world, celebrity culture will return. But for now, let’s appreciate the reset 2020 gave us. For 10 months now, instead of following famous people’s lives in our spare time, we’ve become almost entirely focused on our own, down here with everyone else, enduring what is sure to be one of the most stressful years of our lives. What we’ve learned about ourselves in the process will be of more value for years to come than anything the world of celebrity could have conjured.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13889948/2020-the-year-small-pleasures-finally-eclipsed-celebrity-culture","authors":["11242"],"categories":["arts_1","arts_75"],"tags":["arts_9535","arts_12958","arts_11272","arts_10342","arts_12226","arts_10278","arts_12322","arts_11003","arts_2291","arts_12993","arts_3505","arts_3423","arts_8580","arts_10587","arts_12710","arts_8017"],"featImg":"arts_13890561","label":"source_arts_13889948"},"arts_13890399":{"type":"posts","id":"arts_13890399","meta":{"index":"posts_1591205157","site":"arts","id":"13890399","score":null,"sort":[1607993033000]},"guestAuthors":[],"slug":"watch-two-potty-mouthed-brits-brilliantly-sum-up-2020-in-song-form","title":"Watch Two Potty-Mouthed Brits Brilliantly Sum Up 2020 in Song Form","publishDate":1607993033,"format":"standard","headTitle":"Watch Two Potty-Mouthed Brits Brilliantly Sum Up 2020 in Song Form | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Ask anyone—greeting card creators, holiday decoration companies, your fellow humans—the most succinct way to sum up 2020 and, in all likelihood, you’ll be greeted by some variation on the phrase “\u003ca href=\"https://www.etsy.com/search?q=2020+dumpster+fire\" target=\"_blank\" rel=\"noopener noreferrer\">raging dumpster fire.\u003c/a>” Falling back on those three little words is simply easier than trying to explain everything that actually happened. [aside postid='arts_13890110']\u003c/p>\n\u003cp>Prepare to be astounded then, by “The 2020 Song …”—a catchy little piano ditty performed by British comedy duo, \u003ca href=\"https://en.wikipedia.org/wiki/Flo_and_Joan\" target=\"_blank\" rel=\"noopener noreferrer\">Flo & Joan\u003c/a>. In just under two-and-a-half minutes, the English women somehow succeed in capturing the unrelenting turbulence, social and political chaos, environmental destruction, and sheer misery wrought by COVID-19 that has marked this year.\u003c/p>\n\u003cp>Even more impressive is the fact that all of that chaos is presented by the real-life sisters at an increasingly breakneck speed, thereby accurately reflecting how the second half of this year has flown by in five minutes, while the first half felt about 25 months long.\u003c/p>\n\u003cp>Somewhat predictably however, accurately and humorously conveying the underlying frustrations of All Of Humanity in such a short amount of time is made possible with the aid of some extremely colorful language and naughty British colloquialisms. You have been warned.\u003c/p>\n\u003cp>Take it away, potty mouths!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/FloandJoan/status/1338422589782433794\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"In a little over two minutes, Flo & Joan breathlessly capture a year that will live on in infamy.","status":"publish","parent":0,"modified":1705019735,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":226},"headData":{"title":"Watch Two Potty-Mouthed Brits Brilliantly Sum Up 2020 in Song Form | KQED","description":"In a little over two minutes, Flo & Joan breathlessly capture a year that will live on in infamy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch Two Potty-Mouthed Brits Brilliantly Sum Up 2020 in Song Form","datePublished":"2020-12-15T00:43:53.000Z","dateModified":"2024-01-12T00:35:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890399/watch-two-potty-mouthed-brits-brilliantly-sum-up-2020-in-song-form","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask anyone—greeting card creators, holiday decoration companies, your fellow humans—the most succinct way to sum up 2020 and, in all likelihood, you’ll be greeted by some variation on the phrase “\u003ca href=\"https://www.etsy.com/search?q=2020+dumpster+fire\" target=\"_blank\" rel=\"noopener noreferrer\">raging dumpster fire.\u003c/a>” Falling back on those three little words is simply easier than trying to explain everything that actually happened. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890110","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prepare to be astounded then, by “The 2020 Song …”—a catchy little piano ditty performed by British comedy duo, \u003ca href=\"https://en.wikipedia.org/wiki/Flo_and_Joan\" target=\"_blank\" rel=\"noopener noreferrer\">Flo & Joan\u003c/a>. In just under two-and-a-half minutes, the English women somehow succeed in capturing the unrelenting turbulence, social and political chaos, environmental destruction, and sheer misery wrought by COVID-19 that has marked this year.\u003c/p>\n\u003cp>Even more impressive is the fact that all of that chaos is presented by the real-life sisters at an increasingly breakneck speed, thereby accurately reflecting how the second half of this year has flown by in five minutes, while the first half felt about 25 months long.\u003c/p>\n\u003cp>Somewhat predictably however, accurately and humorously conveying the underlying frustrations of All Of Humanity in such a short amount of time is made possible with the aid of some extremely colorful language and naughty British colloquialisms. You have been warned.\u003c/p>\n\u003cp>Take it away, potty mouths!\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1338422589782433794"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890399/watch-two-potty-mouthed-brits-brilliantly-sum-up-2020-in-song-form","authors":["11242"],"categories":["arts_1","arts_968","arts_75"],"tags":["arts_12958","arts_8302","arts_11508","arts_2391","arts_8491"],"featImg":"arts_13890406","label":"arts"},"arts_13890207":{"type":"posts","id":"arts_13890207","meta":{"index":"posts_1591205157","site":"arts","id":"13890207","score":null,"sort":[1607986842000]},"guestAuthors":[],"slug":"it-shouldnt-take-an-emergency-to-fund-artists-basic-needs","title":"It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs","publishDate":1607986842,"format":"standard","headTitle":"It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs | KQED","labelTerm":{},"content":"\u003cp>In March, as soon as shelter-in-place orders set in and businesses closed, the lists were \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">everywhere\u003c/a>: emergency funds for freelancers and creatives, grants divvied up by discipline and region, mutual aid efforts so grassroots they only included a Venmo handle. Navigating these offers of support took time and energy, but for those who received funds, they provided small moments of relief in an otherwise bleak year.\u003c/p>\n\u003cp>San Francisco musician \u003ca href=\"https://www.thehereafterishere.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a>, who was scheduled to set off on a multi-state tour by bike and train this year, has received two emergency grants during the coronavirus pandemic: $1,000 from the California Relief Fund for Artists and Cultural Practitioners and $2,000 from the Hardly Strictly Music Relief Fund. While he’s extremely grateful for that monetary support, $3,000 doesn’t go far in San Francisco.\u003c/p>\n\u003cp>[aside postid='arts_13890093,arts_13890048,arts_13890054' label='What a year'] “Basically what I did here was this was offered, I’m really grateful for it, I did the work to get it, I deposited it in my bank account and then I just transferred it to my landlord’s bank account,” he laughs. “And then I got a month.”\u003c/p>\n\u003cp>Elliott says the real saving grace this year was the fundraising he did to cover the costs of his now-delayed “Freedom Tour 2020,” celebrating the release of his newest album \u003ci>The Information Age\u003c/i>. “There are other times in my career where this could have hit and I don’t know what I would have done,” he says.\u003c/p>\n\u003cp>“I used to say, ‘Well the one thing I know is I can always show up somewhere with my guitar and make some money,’” he says. “And it’s like actually, no, you can’t!”\u003c/p>\n\u003cp>Surveys conducted by \u003ca href=\"https://www.americansforthearts.org/news-room/press-releases/10000-artists-and-creative-workers-report-widespread-job-income-loss-due-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">Americans for the Arts\u003c/a> over the past nine months show that nationally, 62% of artists have become fully unemployed because of the pandemic, and 95% have experienced income loss. In California, the financial impact is substantial, with one-third of the arts, culture and entertainment industry out of work. In an \u003ca href=\"https://www.californiansforthearts.org/statewide-arts-awareness-campaign/#Industries\" target=\"_blank\" rel=\"noopener noreferrer\">ordinary year\u003c/a>, the arts represent $650.3 billion of the state’s economy, and 15.4% of its jobs.\u003c/p>\n\u003cfigure id=\"attachment_13890357\" class=\"wp-caption aligncenter\" style=\"max-width: 2238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg\" alt=\"\" width=\"2238\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg 2238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-2048x1353.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1920x1269.jpg 1920w\" sizes=\"(max-width: 2238px) 100vw, 2238px\">\u003cfigcaption class=\"wp-caption-text\">Data from the San Francisco Bureau of Labor Statistics, September 2020. \u003ccite>(Courtesy Economic Recovery Task Force Report)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A chart in the city of San Francisco’s \u003ci>\u003ca href=\"https://www.onesanfrancisco.org/sites/default/files/inline-files/EconomicRecoveryTaskForceReport_10.08.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Task Force Report\u003c/a>\u003c/i>, published in October, shows the local artistic community’s precarious financial situation in the most plain terms. Already on the low end of the earning spectrum (an average of just over $50,000 a year), the arts, entertainment and recreation sector is second only to “accommodations and food services” in terms of pandemic job losses.\u003c/p>\n\u003cp>It’s bad. Anyone with any connections to the local artistic community knows it’s bad. The question is, what steps can we take to make sure something like this never happens again?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Emergency Grants: ‘They’re Not Even Band-Aids’\u003c/h2>\n\u003cp>The demand on the region’s COVID-19 emergency funds shows just how dire things became only days into shelter-in-place. Artists were already existing on the margins with little to no savings, but the types of jobs that allow for the flexibility to pursue artmaking were some of the first to go: art handling, bartending, events staff, public-facing museum positions.\u003c/p>\n\u003cp>Laura Poppiti, grants program director at the \u003ca href=\"https://www.cciarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Innovation\u003c/a>, which administered five local emergency relief funds in coordination with other Bay Area nonprofits, says the pandemic has made clear there are seismic cracks in our system. “What COVID has brought to light is that grants and these one-off programs, they’re not even Band-Aids,” she says. “We don’t have good or solid safety nets for artists and everyone else who shares those circumstances.”\u003c/p>\n\u003cp>[aside postID='arts_13876893']In some of the grants Poppiti helped oversee, the available money was enough to fund only around half of their applicants. The San Francisco Arts & Artists Relief Fund supported 699 individual artists and 65 arts and culture organizations, but received 1,400 applications in total. The East Bay/Oakland Relief Fund for Individuals in the Arts awarded 515 individuals, but received around 900 applications.\u003c/p>\n\u003cp>Even instances where it might seem like need was met—by the City of San Jose Coronavirus Relief Fund and the \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Music Relief Fund\u003c/a>, which were both able to award all their applicants, 94 artists and 330 roots musicians, respectively—might not be indicative of the true breadth of the situation. The San Jose relief fund only reimbursed eligible expenses as defined by the CARES Act. And Elliott, who received a grant from the Hardly Strictly fund, noted the application process was geared towards musicians who already had an online presence and ready-to-go digital files.\u003c/p>\n\u003cp>As the \u003ci>Economic Recovery Task Force Report\u003c/i> states: “Bureaucracy is even more burdensome at a time of great need.” Multiple nonprofit administrators interviewed for this article spoke to the artistic community’s exhaustion. Not only did artists need to seek out and apply for various grants, many had to navigate filing a claim for Pandemic Unemployment Assistance (PUA), an expansion of unemployment insurance for self-employed workers and independent contractors. (PUA is set to expire on Dec. 26, a fact Poppiti calls “appalling.”)\u003c/p>\n\u003cp>“I can’t imagine the emotional labor and trauma that so many artists were going through, putting out application after application after application and getting rejections,” Poppiti says. “Demand far outweighs the resources available.”\u003c/p>\n\u003cp>And if, like Elliott, you were a recipient of a grant (or two), how does that help you a month, six months, or a year after your main source of income is gone?\u003c/p>\n\u003cfigure id=\"attachment_13890378\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890378\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Venues like the Warfield, which closed in mid-March per San Francisco city orders, won’t reopen until full-capacity indoor events are allowed once again. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alternatives Hampered by Traditional Funding\u003c/h2>\n\u003cp>While even those administering emergency grants admit they’re stop-gap measures, the alternatives are limited by the current funding landscape. Much of what’s available to both nonprofits and individual artists is project-based; funders are interested in pointing to specific exhibitions, performances or objects as the products of their generosity.\u003c/p>\n\u003cp>That approach, Poppiti says, is partly based on the “overhead myth”—that a well-performing nonprofit has low administrative and fundraising expenses.\u003c/p>\n\u003cp>[pullquote size='medium' citation='Laura Poppiti, Center for Cultural Innovation']‘Philanthropy has rewarded arts nonprofits for underpaying their employees.’[/pullquote]Margaret McCarthy, executive director and co-director of \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Exposure\u003c/a>, which dispersed two rounds of emergency funds in lieu of their annual Alternative Exposure grant (normally project-based), says the pandemic has forced many funders to abandon this standard. With space rentals and ticket sales off the table, nonprofits losing their general operating income turned to funders to release previously restricted grants.\u003c/p>\n\u003cp>It’s a shift McCarthy says she’s been trumpeting long before shelter in place. “As organizations, we want to pay our staff an industry-competitive compensation. We have to do things like pay our rent,” she says. “Project-based support just tries to leap over the operating costs in order to produce the more glamorous projects.”\u003c/p>\n\u003cp>This isn’t about privileging arts administrators over artists, but acknowledging an organization as a whole entity, the health of which benefits the broader arts ecosystem. “These are people who should be living full lives,” Poppiti says. “Philanthropy has rewarded arts nonprofits for underpaying their employees.”\u003c/p>\n\u003cp>McCarthy puts it bluntly: “Why should it have to get to an emergency state before we fund the basic needs of organizations?”\u003c/p>\n\u003cp>Extending that line of reasoning out to individual artist grants only makes sense, says Valerie Imus, Southern Exposure’s artistic director and co-director. “It’s so beyond just trying to support artists to buy supplies,” she says. For its first round of emergency grants, Southern Exposure received 189 applications for 60 available slots. The second, restricted to only San Francisco artists, saw 125 applications for just 19 grants.\u003c/p>\n\u003cp>Like other grant administrators, Imus knows the psychological toll of sifting through artists’ statements of need and making incredibly difficult decisions about who would receive funding. In notes of thanks from recipients, they mentioned being able to buy groceries or support their extended family for another month. “The stories were just so hard to read,” she says. “It was heartbreaking to not be able to give more.”\u003c/p>\n\u003cfigure id=\"attachment_13890365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Southern Exposure being used as a polling place on Nov. 3, 2020, with an installation by Related Tactics titled ‘Never Again is Now’ on view. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While other industries have been able to reopen in stages, the arts, culture and entertainment sector can only return in full force once the region is completely reopened. Predicting ongoing need, Theatre Bay Area, in partnership with Dancers’ Group and InterMusic SF, established the \u003ca href=\"https://www.theatrebayarea.org/page/COVID-19relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Performing Arts Worker Relief Fund\u003c/a>, which distributes $500–$1,000 grants to individuals on a rolling basis. So far they’ve raised over $600,000 and funded around 700 applicants, with approximately 120 still on the waiting list and 20–30 more each month.\u003c/p>\n\u003cp>“The fact that people have to reapply … [shows] it’s not enough,” says Kimberley Cohan, TBA’s programs manager. The relief fund is an exercise in rapid response and coalition-building. Cohan says partnering with other organizations pooled their fundraising power and helped get the word out to even more applicants. Immediate financial need is still present, she says, but she’s also turning her attention to other concerns: helping artists stay in the Bay Area.\u003c/p>\n\u003ch2>Problems Grants Can’t Solve\u003c/h2>\n\u003cp>Lee Lavy, a \u003ca href=\"https://leemlavy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">visual artist\u003c/a> and musician who was working as an art handler at the beginning of the year, decided to leave San Francisco with his partner Kelli Wong just before shelter in place took effect. Facing no work and confinement within a tiny apartment, the couple opted instead for Bitterroot Valley, Montana, where Lavy grew up.\u003c/p>\n\u003cp>[pullquote size='medium' align='right']The pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.[/pullquote]“Until the virus hit, we had no intention of leaving San Francisco,” says Lavy, who graduated from UC Berkeley’s MFA program in 2015. In fact, the two returned and resumed work when restrictions lifted somewhat in the summer. But two months later they lost their apartment, a rent-controlled spot Lavy describes as the only reason they were able to live in San Francisco in the first place.\u003c/p>\n\u003cp>Now they’re two of the many artists who have left the Bay Area for good, a decision Lavy notes is only possible because of family support and the couple’s financial ability to move.\u003c/p>\n\u003cp>The frequency of such departures is hard to quantify; we no longer have regular gatherings at which to mark sudden absences. Months from now, when we can once again rub elbows during events, the pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.\u003c/p>\n\u003cfigure id=\"attachment_13880814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/download.jpeg\" alt=\"\" width=\"1280\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-800x618.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-768x593.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-1020x788.jpeg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Okona (top right) and her art critique group on Zoom. \u003ccite>(Chinwe Okona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who have managed to stay, financial difficulties are just one facet of maintaining a creative practice during the pandemic. \u003ca href=\"https://theintersection.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Intersection for the Arts\u003c/a>, a San Francisco nonprofit that offers fiscal sponsorship and professional development to artists, began holding virtual “Coaching Circles” in April. Amy Kweskin, director of professional development, says the weekly conversations followed a fairly clear path through the stages of grief.\u003c/p>\n\u003cp>“Navigating the loss of live, in-person—that’s what they mourned—‘I can’t be on a stage reacting to the energy of the theater, I’m behind this anonymous flat screen,’” Kweskin says. “So we spent a lot of time in those coaching sessions figuring out how do you still get those emotions, how do you get that feedback.”\u003c/p>\n\u003cp>“Especially in the arts, where collaboration is so important, artists and arts workers are not having opportunities to connect,” says Izzy Parlamis, Intersection’s communications director. “The circles allowed for a space to gather and speak.”\u003c/p>\n\u003cp>Just as emergency grants won’t guarantee an artist’s financial stability in the long run, support systems cannot ignore the nonmonetary pressures on the local arts community, which this year included renewed calls for racial justice and the largest fires in the California’s recent history. 2020 demonstrated the need to serve artists as whole people, not just as producers of projects or owners of dwindling bank accounts.\u003c/p>\n\u003ch2>Looking Ahead to 2021\u003c/h2>\n\u003cp>In order to create a Bay Area where artists have any hope of sticking around, let alone meaningfully pursuing their crafts, we need to radically rethink both funding protocols and the types of nonmonetary support offered to artists.\u003c/p>\n\u003cp>Some of the most immediate shifts are coming from the city of San Francisco, signaled within the \u003ci>Economic Recovery Task Force Report\u003c/i>, which identifies the survival of the city’s arts, culture and entertainment sectors as necessary to its economic recovery as a whole. And the report’s already yielded a tangible result: Mayor London Breed announced a pilot program in early October to provide 130 artists with $1,000 a month for at least six months.\u003c/p>\n\u003cfigure id=\"attachment_13880309\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg\" alt=\"Yerba Buena Center for the Arts' Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021.\" width=\"1500\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-1020x574.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts’ Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021. \u003ccite>(Courtesy Yerba Buena Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanne Lee, the deputy director of programs for the San Francisco Arts Commission (SFAC), says the pilot program is “a way to provide a steady consistent stream of income that is nonrestrictive and builds on trust and choice for what artists need.”\u003c/p>\n\u003cp>Yerba Buena Center for the Arts (YBCA) will receive a $870,000 grant to administer the basic income program, along with $250,000 to operate an “Arts Hub” (an expansion on the organization’s \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>) of resources and support services for artists. Funding for both comes from a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">allocation\u003c/a> of the Arts Impact Endowment.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='John Elliott, San Francisco musician']‘There needs to be some restoration of the safety net with no questions asked.’[/pullquote]YBCA’s CEO Deborah Cullinan says ideally the basic income program will last much longer than six months, so they can more deeply study how it will impact artists’ lives. Applications will be open to individual artists, with the first month’s funds disbursed by March 2021. The program will prioritize those who had little to no safety net even before the pandemic: BIPOC artists, LGBTQ+ artists and artists with disabilities.\u003c/p>\n\u003cp>Cullinan sees the Artist Power Center and the basic income pilot program as part of an encompassing plan to develop the capacity of artists who are driving social change. “It has to be that you’re addressing the whole person,” she says. “It can’t be what we’ve done over these many years, which is this kind of transactional grantmaking.”\u003c/p>\n\u003cp>UBI is gaining traction nationally, thanks in part to Andrew Yang’s presidential campaign, as well as evidence that the direct cash provided through the CARES Act prevented an estimated \u003ca href=\"https://www.nytimes.com/2020/06/21/us/politics/coronavirus-poverty.html\" target=\"_blank\" rel=\"noopener noreferrer\">12 million people\u003c/a> from sinking into poverty. Programs like Stockton’s $500-a-month \u003ca href=\"https://seed.sworps.tennessee.edu/index.html\">UBI pilot\u003c/a> may be the beginning of a national trend.\u003c/p>\n\u003cp>“It’s not just artists. There needs to be some restoration of the safety net with no questions asked,” Elliott says. “I like the idea of universal basic income. That could really go a long way to putting a floor under people.”\u003c/p>\n\u003cp>Lee says initiatives like the basic income program, along with freeing up other SFAC funds towards general operating expenses, are “very big” for city government. And while the enthusiasm for large-scale change is there (the task force came down in favor of health care and internet for all, and student and consumer debt relief, among other progressive proposals), the real test will be funding these initiatives in the long term—or more likely, convincing the state or federal government to do so.\u003c/p>\n\u003cp>As Poppiti says, “Long-lasting change will be the systems-level change.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"What the pandemic has made clear is the total lack of a safety net for anyone without a full-time job and benefits.","status":"publish","parent":0,"modified":1705019737,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":45,"wordCount":2841},"headData":{"title":"It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs | KQED","description":"What the pandemic has made clear is the total lack of a safety net for anyone without a full-time job and benefits.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"It Shouldn’t Take an Emergency to Fund Artists’ Basic Needs","datePublished":"2020-12-14T23:00:42.000Z","dateModified":"2024-01-12T00:35:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890207/it-shouldnt-take-an-emergency-to-fund-artists-basic-needs","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In March, as soon as shelter-in-place orders set in and businesses closed, the lists were \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">everywhere\u003c/a>: emergency funds for freelancers and creatives, grants divvied up by discipline and region, mutual aid efforts so grassroots they only included a Venmo handle. Navigating these offers of support took time and energy, but for those who received funds, they provided small moments of relief in an otherwise bleak year.\u003c/p>\n\u003cp>San Francisco musician \u003ca href=\"https://www.thehereafterishere.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Elliott\u003c/a>, who was scheduled to set off on a multi-state tour by bike and train this year, has received two emergency grants during the coronavirus pandemic: $1,000 from the California Relief Fund for Artists and Cultural Practitioners and $2,000 from the Hardly Strictly Music Relief Fund. While he’s extremely grateful for that monetary support, $3,000 doesn’t go far in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890093,arts_13890048,arts_13890054","label":"What a year "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> “Basically what I did here was this was offered, I’m really grateful for it, I did the work to get it, I deposited it in my bank account and then I just transferred it to my landlord’s bank account,” he laughs. “And then I got a month.”\u003c/p>\n\u003cp>Elliott says the real saving grace this year was the fundraising he did to cover the costs of his now-delayed “Freedom Tour 2020,” celebrating the release of his newest album \u003ci>The Information Age\u003c/i>. “There are other times in my career where this could have hit and I don’t know what I would have done,” he says.\u003c/p>\n\u003cp>“I used to say, ‘Well the one thing I know is I can always show up somewhere with my guitar and make some money,’” he says. “And it’s like actually, no, you can’t!”\u003c/p>\n\u003cp>Surveys conducted by \u003ca href=\"https://www.americansforthearts.org/news-room/press-releases/10000-artists-and-creative-workers-report-widespread-job-income-loss-due-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">Americans for the Arts\u003c/a> over the past nine months show that nationally, 62% of artists have become fully unemployed because of the pandemic, and 95% have experienced income loss. In California, the financial impact is substantial, with one-third of the arts, culture and entertainment industry out of work. In an \u003ca href=\"https://www.californiansforthearts.org/statewide-arts-awareness-campaign/#Industries\" target=\"_blank\" rel=\"noopener noreferrer\">ordinary year\u003c/a>, the arts represent $650.3 billion of the state’s economy, and 15.4% of its jobs.\u003c/p>\n\u003cfigure id=\"attachment_13890357\" class=\"wp-caption aligncenter\" style=\"max-width: 2238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg\" alt=\"\" width=\"2238\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart.jpg 2238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1536x1015.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-2048x1353.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EconomicRecoveryTaskForceReport_chart-1920x1269.jpg 1920w\" sizes=\"(max-width: 2238px) 100vw, 2238px\">\u003cfigcaption class=\"wp-caption-text\">Data from the San Francisco Bureau of Labor Statistics, September 2020. \u003ccite>(Courtesy Economic Recovery Task Force Report)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A chart in the city of San Francisco’s \u003ci>\u003ca href=\"https://www.onesanfrancisco.org/sites/default/files/inline-files/EconomicRecoveryTaskForceReport_10.08.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Task Force Report\u003c/a>\u003c/i>, published in October, shows the local artistic community’s precarious financial situation in the most plain terms. Already on the low end of the earning spectrum (an average of just over $50,000 a year), the arts, entertainment and recreation sector is second only to “accommodations and food services” in terms of pandemic job losses.\u003c/p>\n\u003cp>It’s bad. Anyone with any connections to the local artistic community knows it’s bad. The question is, what steps can we take to make sure something like this never happens again?\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\u003ch2>Emergency Grants: ‘They’re Not Even Band-Aids’\u003c/h2>\n\u003cp>The demand on the region’s COVID-19 emergency funds shows just how dire things became only days into shelter-in-place. Artists were already existing on the margins with little to no savings, but the types of jobs that allow for the flexibility to pursue artmaking were some of the first to go: art handling, bartending, events staff, public-facing museum positions.\u003c/p>\n\u003cp>Laura Poppiti, grants program director at the \u003ca href=\"https://www.cciarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Innovation\u003c/a>, which administered five local emergency relief funds in coordination with other Bay Area nonprofits, says the pandemic has made clear there are seismic cracks in our system. “What COVID has brought to light is that grants and these one-off programs, they’re not even Band-Aids,” she says. “We don’t have good or solid safety nets for artists and everyone else who shares those circumstances.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13876893","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In some of the grants Poppiti helped oversee, the available money was enough to fund only around half of their applicants. The San Francisco Arts & Artists Relief Fund supported 699 individual artists and 65 arts and culture organizations, but received 1,400 applications in total. The East Bay/Oakland Relief Fund for Individuals in the Arts awarded 515 individuals, but received around 900 applications.\u003c/p>\n\u003cp>Even instances where it might seem like need was met—by the City of San Jose Coronavirus Relief Fund and the \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Music Relief Fund\u003c/a>, which were both able to award all their applicants, 94 artists and 330 roots musicians, respectively—might not be indicative of the true breadth of the situation. The San Jose relief fund only reimbursed eligible expenses as defined by the CARES Act. And Elliott, who received a grant from the Hardly Strictly fund, noted the application process was geared towards musicians who already had an online presence and ready-to-go digital files.\u003c/p>\n\u003cp>As the \u003ci>Economic Recovery Task Force Report\u003c/i> states: “Bureaucracy is even more burdensome at a time of great need.” Multiple nonprofit administrators interviewed for this article spoke to the artistic community’s exhaustion. Not only did artists need to seek out and apply for various grants, many had to navigate filing a claim for Pandemic Unemployment Assistance (PUA), an expansion of unemployment insurance for self-employed workers and independent contractors. (PUA is set to expire on Dec. 26, a fact Poppiti calls “appalling.”)\u003c/p>\n\u003cp>“I can’t imagine the emotional labor and trauma that so many artists were going through, putting out application after application after application and getting rejections,” Poppiti says. “Demand far outweighs the resources available.”\u003c/p>\n\u003cp>And if, like Elliott, you were a recipient of a grant (or two), how does that help you a month, six months, or a year after your main source of income is gone?\u003c/p>\n\u003cfigure id=\"attachment_13890378\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890378\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS42591_008_KQED_SanFrancisco_Businesses_04072020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Venues like the Warfield, which closed in mid-March per San Francisco city orders, won’t reopen until full-capacity indoor events are allowed once again. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Alternatives Hampered by Traditional Funding\u003c/h2>\n\u003cp>While even those administering emergency grants admit they’re stop-gap measures, the alternatives are limited by the current funding landscape. Much of what’s available to both nonprofits and individual artists is project-based; funders are interested in pointing to specific exhibitions, performances or objects as the products of their generosity.\u003c/p>\n\u003cp>That approach, Poppiti says, is partly based on the “overhead myth”—that a well-performing nonprofit has low administrative and fundraising expenses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘Philanthropy has rewarded arts nonprofits for underpaying their employees.’","name":"pullquote","attributes":{"named":{"size":"medium","citation":"Laura Poppiti, Center for Cultural Innovation","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Margaret McCarthy, executive director and co-director of \u003ca href=\"https://www.soex.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Exposure\u003c/a>, which dispersed two rounds of emergency funds in lieu of their annual Alternative Exposure grant (normally project-based), says the pandemic has forced many funders to abandon this standard. With space rentals and ticket sales off the table, nonprofits losing their general operating income turned to funders to release previously restricted grants.\u003c/p>\n\u003cp>It’s a shift McCarthy says she’s been trumpeting long before shelter in place. “As organizations, we want to pay our staff an industry-competitive compensation. We have to do things like pay our rent,” she says. “Project-based support just tries to leap over the operating costs in order to produce the more glamorous projects.”\u003c/p>\n\u003cp>This isn’t about privileging arts administrators over artists, but acknowledging an organization as a whole entity, the health of which benefits the broader arts ecosystem. “These are people who should be living full lives,” Poppiti says. “Philanthropy has rewarded arts nonprofits for underpaying their employees.”\u003c/p>\n\u003cp>McCarthy puts it bluntly: “Why should it have to get to an emergency state before we fund the basic needs of organizations?”\u003c/p>\n\u003cp>Extending that line of reasoning out to individual artist grants only makes sense, says Valerie Imus, Southern Exposure’s artistic director and co-director. “It’s so beyond just trying to support artists to buy supplies,” she says. For its first round of emergency grants, Southern Exposure received 189 applications for 60 available slots. The second, restricted to only San Francisco artists, saw 125 applications for just 19 grants.\u003c/p>\n\u003cp>Like other grant administrators, Imus knows the psychological toll of sifting through artists’ statements of need and making incredibly difficult decisions about who would receive funding. In notes of thanks from recipients, they mentioned being able to buy groceries or support their extended family for another month. “The stories were just so hard to read,” she says. “It was heartbreaking to not be able to give more.”\u003c/p>\n\u003cfigure id=\"attachment_13890365\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13890365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/RS46058_046_KQED_SanFrancisco_ElectionDayVoting_11032020-qut_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Southern Exposure being used as a polling place on Nov. 3, 2020, with an installation by Related Tactics titled ‘Never Again is Now’ on view. \u003ccite>(Beth LaBerge / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While other industries have been able to reopen in stages, the arts, culture and entertainment sector can only return in full force once the region is completely reopened. Predicting ongoing need, Theatre Bay Area, in partnership with Dancers’ Group and InterMusic SF, established the \u003ca href=\"https://www.theatrebayarea.org/page/COVID-19relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Performing Arts Worker Relief Fund\u003c/a>, which distributes $500–$1,000 grants to individuals on a rolling basis. So far they’ve raised over $600,000 and funded around 700 applicants, with approximately 120 still on the waiting list and 20–30 more each month.\u003c/p>\n\u003cp>“The fact that people have to reapply … [shows] it’s not enough,” says Kimberley Cohan, TBA’s programs manager. The relief fund is an exercise in rapid response and coalition-building. Cohan says partnering with other organizations pooled their fundraising power and helped get the word out to even more applicants. Immediate financial need is still present, she says, but she’s also turning her attention to other concerns: helping artists stay in the Bay Area.\u003c/p>\n\u003ch2>Problems Grants Can’t Solve\u003c/h2>\n\u003cp>Lee Lavy, a \u003ca href=\"https://leemlavy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">visual artist\u003c/a> and musician who was working as an art handler at the beginning of the year, decided to leave San Francisco with his partner Kelli Wong just before shelter in place took effect. Facing no work and confinement within a tiny apartment, the couple opted instead for Bitterroot Valley, Montana, where Lavy grew up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"The pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Until the virus hit, we had no intention of leaving San Francisco,” says Lavy, who graduated from UC Berkeley’s MFA program in 2015. In fact, the two returned and resumed work when restrictions lifted somewhat in the summer. But two months later they lost their apartment, a rent-controlled spot Lavy describes as the only reason they were able to live in San Francisco in the first place.\u003c/p>\n\u003cp>Now they’re two of the many artists who have left the Bay Area for good, a decision Lavy notes is only possible because of family support and the couple’s financial ability to move.\u003c/p>\n\u003cp>The frequency of such departures is hard to quantify; we no longer have regular gatherings at which to mark sudden absences. Months from now, when we can once again rub elbows during events, the pandemic’s toll on the local art community will be visible in all the empty spaces where our friends once stood.\u003c/p>\n\u003cfigure id=\"attachment_13880814\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/download.jpeg\" alt=\"\" width=\"1280\" height=\"989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download.jpeg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-800x618.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-768x593.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/download-1020x788.jpeg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Chinwe Okona (top right) and her art critique group on Zoom. \u003ccite>(Chinwe Okona)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those who have managed to stay, financial difficulties are just one facet of maintaining a creative practice during the pandemic. \u003ca href=\"https://theintersection.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Intersection for the Arts\u003c/a>, a San Francisco nonprofit that offers fiscal sponsorship and professional development to artists, began holding virtual “Coaching Circles” in April. Amy Kweskin, director of professional development, says the weekly conversations followed a fairly clear path through the stages of grief.\u003c/p>\n\u003cp>“Navigating the loss of live, in-person—that’s what they mourned—‘I can’t be on a stage reacting to the energy of the theater, I’m behind this anonymous flat screen,’” Kweskin says. “So we spent a lot of time in those coaching sessions figuring out how do you still get those emotions, how do you get that feedback.”\u003c/p>\n\u003cp>“Especially in the arts, where collaboration is so important, artists and arts workers are not having opportunities to connect,” says Izzy Parlamis, Intersection’s communications director. “The circles allowed for a space to gather and speak.”\u003c/p>\n\u003cp>Just as emergency grants won’t guarantee an artist’s financial stability in the long run, support systems cannot ignore the nonmonetary pressures on the local arts community, which this year included renewed calls for racial justice and the largest fires in the California’s recent history. 2020 demonstrated the need to serve artists as whole people, not just as producers of projects or owners of dwindling bank accounts.\u003c/p>\n\u003ch2>Looking Ahead to 2021\u003c/h2>\n\u003cp>In order to create a Bay Area where artists have any hope of sticking around, let alone meaningfully pursuing their crafts, we need to radically rethink both funding protocols and the types of nonmonetary support offered to artists.\u003c/p>\n\u003cp>Some of the most immediate shifts are coming from the city of San Francisco, signaled within the \u003ci>Economic Recovery Task Force Report\u003c/i>, which identifies the survival of the city’s arts, culture and entertainment sectors as necessary to its economic recovery as a whole. And the report’s already yielded a tangible result: Mayor London Breed announced a pilot program in early October to provide 130 artists with $1,000 a month for at least six months.\u003c/p>\n\u003cfigure id=\"attachment_13880309\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg\" alt=\"Yerba Buena Center for the Arts' Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021.\" width=\"1500\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/YBCA_ArtistPower_Website_Banner_v2-1020x574.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts’ Artist Power Center, a web and hotline resource, received additional funding from the SFAC to expand its reach in 2021. \u003ccite>(Courtesy Yerba Buena Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joanne Lee, the deputy director of programs for the San Francisco Arts Commission (SFAC), says the pilot program is “a way to provide a steady consistent stream of income that is nonrestrictive and builds on trust and choice for what artists need.”\u003c/p>\n\u003cp>Yerba Buena Center for the Arts (YBCA) will receive a $870,000 grant to administer the basic income program, along with $250,000 to operate an “Arts Hub” (an expansion on the organization’s \u003ca href=\"https://ybca.org/artist-power-center/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Power Center\u003c/a>) of resources and support services for artists. Funding for both comes from a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">allocation\u003c/a> of the Arts Impact Endowment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘There needs to be some restoration of the safety net with no questions asked.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"John Elliott, San Francisco musician","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>YBCA’s CEO Deborah Cullinan says ideally the basic income program will last much longer than six months, so they can more deeply study how it will impact artists’ lives. Applications will be open to individual artists, with the first month’s funds disbursed by March 2021. The program will prioritize those who had little to no safety net even before the pandemic: BIPOC artists, LGBTQ+ artists and artists with disabilities.\u003c/p>\n\u003cp>Cullinan sees the Artist Power Center and the basic income pilot program as part of an encompassing plan to develop the capacity of artists who are driving social change. “It has to be that you’re addressing the whole person,” she says. “It can’t be what we’ve done over these many years, which is this kind of transactional grantmaking.”\u003c/p>\n\u003cp>UBI is gaining traction nationally, thanks in part to Andrew Yang’s presidential campaign, as well as evidence that the direct cash provided through the CARES Act prevented an estimated \u003ca href=\"https://www.nytimes.com/2020/06/21/us/politics/coronavirus-poverty.html\" target=\"_blank\" rel=\"noopener noreferrer\">12 million people\u003c/a> from sinking into poverty. Programs like Stockton’s $500-a-month \u003ca href=\"https://seed.sworps.tennessee.edu/index.html\">UBI pilot\u003c/a> may be the beginning of a national trend.\u003c/p>\n\u003cp>“It’s not just artists. There needs to be some restoration of the safety net with no questions asked,” Elliott says. “I like the idea of universal basic income. That could really go a long way to putting a floor under people.”\u003c/p>\n\u003cp>Lee says initiatives like the basic income program, along with freeing up other SFAC funds towards general operating expenses, are “very big” for city government. And while the enthusiasm for large-scale change is there (the task force came down in favor of health care and internet for all, and student and consumer debt relief, among other progressive proposals), the real test will be funding these initiatives in the long term—or more likely, convincing the state or federal government to do so.\u003c/p>\n\u003cp>As Poppiti says, “Long-lasting change will be the systems-level change.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890207/it-shouldnt-take-an-emergency-to-fund-artists-basic-needs","authors":["61"],"categories":["arts_1"],"tags":["arts_12958","arts_10342","arts_10278","arts_2887","arts_1072","arts_10648","arts_1955"],"featImg":"arts_13890402","label":"source_arts_13890207"},"arts_13890054":{"type":"posts","id":"arts_13890054","meta":{"index":"posts_1591205157","site":"arts","id":"13890054","score":null,"sort":[1607976040000]},"guestAuthors":[],"slug":"livestreaming-defined-the-performing-arts-in-2020-how-can-it-be-sustained","title":"Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained?","publishDate":1607976040,"format":"standard","headTitle":"Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained? | KQED","labelTerm":{},"content":"\u003cp>The last in-person performance I saw in \u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">2020 was \u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a>—a show that opened and closed on the same night in early March, right before the city implemented its first, strict, stay-at-home orders of the COVID-19 pandemic.\u003c/p>\n\u003cp>Since it wasn’t clear in those early weeks just how long the shutdown would last, theaters continued to be optimistic about their fall and winter shows, and in the interim, many branched out into broadcasting previously filmed shows (\u003cem>Toni Stone\u003c/em> among them), as well as staging readings, discussions, and original content on Zoom—a web-conferencing software many had never used before.\u003c/p>\n\u003cp>While those first heady weeks of streaming \u003cem>everything\u003c/em> available were fun, a saturation point was quickly reached, and performers watched audience numbers dwindle as their own enthusiasm for the limited capabilities of streamed content waned. As drag performer Honey Mahogany mentioned recently on KQED Forum, discussing the Stud’s regular livestreams on Twitch, “The numbers have been going down week after week. It’s really unsustainable.”\u003c/p>\n\u003cp>Even so,\u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\"> just like local music venues\u003c/a>, it’s unclear when theater spaces will be able to open their doors again to live performance. So continuing to innovate new ways of creating and presenting their works in the interim is crucial to their continued survival.\u003c/p>\n\u003ch2>New Formats, New Platforms\u003c/h2>\n\u003cp>For many, July 4 means opening day of the San Francisco Mime Troupe’s annual show in Dolores Park. This year, while other theaters were still tentatively trying to figure out whether or not they could schedule any shows at all, the Mime Troupe had their decision made for them in April, when the City told them they couldn’t have a permit to present in the park.\u003c/p>\n\u003cfigure id=\"attachment_13890059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg\" alt=\"\" width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1020x513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1536x772.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1920x965.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe’s Velina Brown and Micheal Gene Sullivan recording ‘A Red Carol’ at home. \u003ccite>(Zachary Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lifelong love of radio plays offered an idea to the company’s chief playwright, Michael Gene Sullivan. He’d already toyed with the idea of a show in which four interconnected stories come together in a blockbuster ending. Why not write it for the radio? When he brought the idea to the rest of the company, they quickly approved, and the company’s 10-episode serial radio drama, \u003ca href=\"http://www.sfmt.org/talesoftheresistance\">\u003cem>Tales of the Resistance\u003c/em>\u003c/a>, was born.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As company member, Velina Brown had already been on deck to direct their live show this year, and she gamely took the lead on directing the radio series, working closely with sound engineer Taylor Gonzalez and music director Daniel Savio. After becoming frustrated with Zoom as a rehearsal platform due to its delays and bandwidth usage, they hit upon using Discord, a chatroom app popular with gamers. This made it possible, Brown says, to rehearse with fewer delays and glitches by using Discord’s audio-only features, all while developing their own radio play “vocabulary” as a group. That vocabulary was passed over to Sullivan, for directing their brand new holiday play, \u003ca href=\"http://www.sfmt.org/a-red-carol\">\u003cem>A Red Carol\u003c/em>\u003c/a> (which opened Dec. 11).\u003c/p>\n\u003cfigure id=\"attachment_13890057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-1020x561.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-768x423.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern.png 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drunk Theatre Company on the PianoFight Gather “mainstage.” \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Discord isn’t the only gaming interface being used by theater-makers. Companies such as PianoFight, Dragon Productions, and Mystic Ventures Collective have all built out virtual spaces in retro-cute, pixelated graphics on a program called \u003ca href=\"https://gather.town/\" target=\"_blank\" rel=\"noopener noreferrer\">Gather\u003c/a>. For myself, rolling up to \u003ca href=\"http://www.pianofight.com\">PianoFight’s pre-Halloween fundraising party\u003c/a> felt almost exactly the same as in person. I staked out a hiding place in the bar and watched the crowd trickle in, and once everyone had found someone else to socialize with, made a beeline for the main stage to watch some Drunk Theatre Company. That’s one of the big upsides of a Gather space: being able to move around and encounter fellow attendees spontaneously, without losing the ability to watch the entertainment.\u003c/p>\n\u003cfigure id=\"attachment_13890061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Cat Productions sending out packages of postcards to campaign participants. \u003ccite>(Queer Cat Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bringing it All Back Home\u003c/h2>\n\u003cp>Exploring tangibility as a theatrical imperative was the driving force behind \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>’ pre-election postcard campaign in October, Faultline Theater’s \u003ca href=\"https://www.faultlinetheater.com/merch/fck-2020-bingo-game\">F*CK 2020 Bingo Game\u003c/a>, and \u003ca href=\"http://www.playonkit.com\">\u003cem>Play On!\u003c/em>\u003c/a>, the latest project from Bay Area Children’s Theater. Recognizing a need to move “zoomed-out” children away from their screens, BACT’s narrative activity kits come with all of the materials kids need to develop and stage their own shows at home.\u003c/p>\n\u003cp>“As we created the kits, we really put the process through a traditional theatrical design lens,” BACT’s executive director, Nina Meehan, explained in an email. “So each element is created with the notion that the story will activate the imagination and the element will support that activation.” For example, in their holiday edition, \u003cem>The Gingerbread Family\u003c/em>, families embark on an interactive adventure to “Grandma’s” house, accompanied by a stuffed purple reindeer and a suite of physical activities, crafts, board games, and singalongs.\u003c/p>\n\u003cfigure id=\"attachment_13890062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg\" alt=\"\" width=\"800\" height=\"663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-768x637.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Children’s Theater debuted their Play On! kits, including this holiday-inspired one, ‘The Gingerbread Family.’ \u003ccite>(Nina Meehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Artist-Oriented Streaming Models\u003c/h2>\n\u003cp>For many performers—such as comedy artists \u003ca href=\"http://www.potatoesmashed.com\">Edna Mira Raia\u003c/a> and \u003ca href=\"http://www.margagomez.com\">Marga Gomez\u003c/a>—the pandemic has meant brushing up on tech skills and upgrading personal equipment in order to stream live from home (Raia on OBS, Gomez on ECAMM). But Raia, who performs most often as a pantheon of comedic characters and drag personae, has found filming and editing comedy videos for YouTube to be ultimately more satisfying, although not without its drawbacks.\u003c/p>\n\u003cp>“Recording allows me to make mistakes and correct them, which I can’t do onstage,” she admitted. “The advantages are that editing gives a soloist more room to play multiple characters or easily change costumes…the downside is that the audience feedback is so delayed because you have to wait for people to watch on their own time to leave a comment, if they say anything at all. I miss hearing laughter and applause.”\u003c/p>\n\u003cfigure id=\"attachment_13890060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edna Mira Raia and Jamin Jollo clown for the camera. \u003ccite>(Edna Mira Raia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That loss of interactivity with an audience, as well as with other performers, is one of artists’ biggest gripes about Zoom. But artist-led technology projects are in the works, being designed to specifically address those particular aspects of the user experience. One of these, \u003ca href=\"https://pineappl.studio\">Pineappl\u003c/a>, being developed by long-time improv artists Chris Griswold and Michael Parlato, is currently in its beta-testing stage. In a tour conducted by Griswold, he showed how easily performers could interact on the screen, as well as maintain (or swap) position. Backgrounds can be preset and easily switched around, and it’s easier for multiple people to speak at the same time.\u003c/p>\n\u003cp>“There are types of improv that I teach that were not translating well to Zoom,” Griswold said about the impetus behind his custom app. “So we built a tool that we could do all kinds of things on!”\u003c/p>\n\u003cfigure id=\"attachment_13890075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890075\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Griswold and Michael Parlato test-drive Pineappl with friends. \u003ccite>(Chris Griswold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Back on Stage\u003c/h2>\n\u003cp>Meanwhile, in a considerable leap back towards performer interaction, \u003ca href=\"http://www.sfplayhouse.org\">San Francisco Playhouse\u003c/a> was recently given a green light from Actor’s Equity to film shows on their physical stage with rigorous testing and social distancing protocols in place.\u003c/p>\n\u003cp>“Our space has a capacity of 700, so limiting it to ten people in the room at any given time feels really safe,” explained producing director Susi Damilano as she described the three-camera shoots of live-staged performances. To date they’ve presented Yasmina Reza’s \u003cem>Art\u003c/em>, and Brian Copeland’s \u003cem>The Jewelry Box\u003c/em>, and opened \u003cem>Songs for a New World\u003c/em>, by Jason Robert Brown, on December 12.\u003c/p>\n\u003cp>If there’s one thing that artists are uniquely suited for, its creative problem-solving in the face of adversity. And while it’s impossible at this point to make a solid prediction for what the face of theater will look like in 2021, what is certain is that there are still surprising discoveries to be made, as artists continue to build new methods and tools for themselves to create with.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This has been an incredible time for theater, keeping it alive while the ground keeps shifting,” reflected Damilano. “It really feels like we are all in this together and by holding each other up, we will come out of this stronger than ever.”\u003c/p>\n\n","blocks":[],"excerpt":"As audiences experienced screen fatigue, performers got innovative, laying the groundwork for an exciting 2021. ","status":"publish","parent":0,"modified":1705019742,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1456},"headData":{"title":"Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained? | KQED","description":"As audiences experienced screen fatigue, performers got innovative, laying the groundwork for an exciting 2021. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained?","datePublished":"2020-12-14T20:00:40.000Z","dateModified":"2024-01-12T00:35:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890054/livestreaming-defined-the-performing-arts-in-2020-how-can-it-be-sustained","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last in-person performance I saw in \u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">2020 was \u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a>—a show that opened and closed on the same night in early March, right before the city implemented its first, strict, stay-at-home orders of the COVID-19 pandemic.\u003c/p>\n\u003cp>Since it wasn’t clear in those early weeks just how long the shutdown would last, theaters continued to be optimistic about their fall and winter shows, and in the interim, many branched out into broadcasting previously filmed shows (\u003cem>Toni Stone\u003c/em> among them), as well as staging readings, discussions, and original content on Zoom—a web-conferencing software many had never used before.\u003c/p>\n\u003cp>While those first heady weeks of streaming \u003cem>everything\u003c/em> available were fun, a saturation point was quickly reached, and performers watched audience numbers dwindle as their own enthusiasm for the limited capabilities of streamed content waned. As drag performer Honey Mahogany mentioned recently on KQED Forum, discussing the Stud’s regular livestreams on Twitch, “The numbers have been going down week after week. It’s really unsustainable.”\u003c/p>\n\u003cp>Even so,\u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\"> just like local music venues\u003c/a>, it’s unclear when theater spaces will be able to open their doors again to live performance. So continuing to innovate new ways of creating and presenting their works in the interim is crucial to their continued survival.\u003c/p>\n\u003ch2>New Formats, New Platforms\u003c/h2>\n\u003cp>For many, July 4 means opening day of the San Francisco Mime Troupe’s annual show in Dolores Park. This year, while other theaters were still tentatively trying to figure out whether or not they could schedule any shows at all, the Mime Troupe had their decision made for them in April, when the City told them they couldn’t have a permit to present in the park.\u003c/p>\n\u003cfigure id=\"attachment_13890059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg\" alt=\"\" width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1020x513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1536x772.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1920x965.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe’s Velina Brown and Micheal Gene Sullivan recording ‘A Red Carol’ at home. \u003ccite>(Zachary Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lifelong love of radio plays offered an idea to the company’s chief playwright, Michael Gene Sullivan. He’d already toyed with the idea of a show in which four interconnected stories come together in a blockbuster ending. Why not write it for the radio? When he brought the idea to the rest of the company, they quickly approved, and the company’s 10-episode serial radio drama, \u003ca href=\"http://www.sfmt.org/talesoftheresistance\">\u003cem>Tales of the Resistance\u003c/em>\u003c/a>, was born.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As company member, Velina Brown had already been on deck to direct their live show this year, and she gamely took the lead on directing the radio series, working closely with sound engineer Taylor Gonzalez and music director Daniel Savio. After becoming frustrated with Zoom as a rehearsal platform due to its delays and bandwidth usage, they hit upon using Discord, a chatroom app popular with gamers. This made it possible, Brown says, to rehearse with fewer delays and glitches by using Discord’s audio-only features, all while developing their own radio play “vocabulary” as a group. That vocabulary was passed over to Sullivan, for directing their brand new holiday play, \u003ca href=\"http://www.sfmt.org/a-red-carol\">\u003cem>A Red Carol\u003c/em>\u003c/a> (which opened Dec. 11).\u003c/p>\n\u003cfigure id=\"attachment_13890057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-1020x561.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-768x423.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern.png 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drunk Theatre Company on the PianoFight Gather “mainstage.” \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Discord isn’t the only gaming interface being used by theater-makers. Companies such as PianoFight, Dragon Productions, and Mystic Ventures Collective have all built out virtual spaces in retro-cute, pixelated graphics on a program called \u003ca href=\"https://gather.town/\" target=\"_blank\" rel=\"noopener noreferrer\">Gather\u003c/a>. For myself, rolling up to \u003ca href=\"http://www.pianofight.com\">PianoFight’s pre-Halloween fundraising party\u003c/a> felt almost exactly the same as in person. I staked out a hiding place in the bar and watched the crowd trickle in, and once everyone had found someone else to socialize with, made a beeline for the main stage to watch some Drunk Theatre Company. That’s one of the big upsides of a Gather space: being able to move around and encounter fellow attendees spontaneously, without losing the ability to watch the entertainment.\u003c/p>\n\u003cfigure id=\"attachment_13890061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Cat Productions sending out packages of postcards to campaign participants. \u003ccite>(Queer Cat Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bringing it All Back Home\u003c/h2>\n\u003cp>Exploring tangibility as a theatrical imperative was the driving force behind \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>’ pre-election postcard campaign in October, Faultline Theater’s \u003ca href=\"https://www.faultlinetheater.com/merch/fck-2020-bingo-game\">F*CK 2020 Bingo Game\u003c/a>, and \u003ca href=\"http://www.playonkit.com\">\u003cem>Play On!\u003c/em>\u003c/a>, the latest project from Bay Area Children’s Theater. Recognizing a need to move “zoomed-out” children away from their screens, BACT’s narrative activity kits come with all of the materials kids need to develop and stage their own shows at home.\u003c/p>\n\u003cp>“As we created the kits, we really put the process through a traditional theatrical design lens,” BACT’s executive director, Nina Meehan, explained in an email. “So each element is created with the notion that the story will activate the imagination and the element will support that activation.” For example, in their holiday edition, \u003cem>The Gingerbread Family\u003c/em>, families embark on an interactive adventure to “Grandma’s” house, accompanied by a stuffed purple reindeer and a suite of physical activities, crafts, board games, and singalongs.\u003c/p>\n\u003cfigure id=\"attachment_13890062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg\" alt=\"\" width=\"800\" height=\"663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-768x637.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Children’s Theater debuted their Play On! kits, including this holiday-inspired one, ‘The Gingerbread Family.’ \u003ccite>(Nina Meehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Artist-Oriented Streaming Models\u003c/h2>\n\u003cp>For many performers—such as comedy artists \u003ca href=\"http://www.potatoesmashed.com\">Edna Mira Raia\u003c/a> and \u003ca href=\"http://www.margagomez.com\">Marga Gomez\u003c/a>—the pandemic has meant brushing up on tech skills and upgrading personal equipment in order to stream live from home (Raia on OBS, Gomez on ECAMM). But Raia, who performs most often as a pantheon of comedic characters and drag personae, has found filming and editing comedy videos for YouTube to be ultimately more satisfying, although not without its drawbacks.\u003c/p>\n\u003cp>“Recording allows me to make mistakes and correct them, which I can’t do onstage,” she admitted. “The advantages are that editing gives a soloist more room to play multiple characters or easily change costumes…the downside is that the audience feedback is so delayed because you have to wait for people to watch on their own time to leave a comment, if they say anything at all. I miss hearing laughter and applause.”\u003c/p>\n\u003cfigure id=\"attachment_13890060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edna Mira Raia and Jamin Jollo clown for the camera. \u003ccite>(Edna Mira Raia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That loss of interactivity with an audience, as well as with other performers, is one of artists’ biggest gripes about Zoom. But artist-led technology projects are in the works, being designed to specifically address those particular aspects of the user experience. One of these, \u003ca href=\"https://pineappl.studio\">Pineappl\u003c/a>, being developed by long-time improv artists Chris Griswold and Michael Parlato, is currently in its beta-testing stage. In a tour conducted by Griswold, he showed how easily performers could interact on the screen, as well as maintain (or swap) position. Backgrounds can be preset and easily switched around, and it’s easier for multiple people to speak at the same time.\u003c/p>\n\u003cp>“There are types of improv that I teach that were not translating well to Zoom,” Griswold said about the impetus behind his custom app. “So we built a tool that we could do all kinds of things on!”\u003c/p>\n\u003cfigure id=\"attachment_13890075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890075\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Griswold and Michael Parlato test-drive Pineappl with friends. \u003ccite>(Chris Griswold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Back on Stage\u003c/h2>\n\u003cp>Meanwhile, in a considerable leap back towards performer interaction, \u003ca href=\"http://www.sfplayhouse.org\">San Francisco Playhouse\u003c/a> was recently given a green light from Actor’s Equity to film shows on their physical stage with rigorous testing and social distancing protocols in place.\u003c/p>\n\u003cp>“Our space has a capacity of 700, so limiting it to ten people in the room at any given time feels really safe,” explained producing director Susi Damilano as she described the three-camera shoots of live-staged performances. To date they’ve presented Yasmina Reza’s \u003cem>Art\u003c/em>, and Brian Copeland’s \u003cem>The Jewelry Box\u003c/em>, and opened \u003cem>Songs for a New World\u003c/em>, by Jason Robert Brown, on December 12.\u003c/p>\n\u003cp>If there’s one thing that artists are uniquely suited for, its creative problem-solving in the face of adversity. And while it’s impossible at this point to make a solid prediction for what the face of theater will look like in 2021, what is certain is that there are still surprising discoveries to be made, as artists continue to build new methods and tools for themselves to create with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This has been an incredible time for theater, keeping it alive while the ground keeps shifting,” reflected Damilano. “It really feels like we are all in this together and by holding each other up, we will come out of this stronger than ever.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890054/livestreaming-defined-the-performing-arts-in-2020-how-can-it-be-sustained","authors":["11497"],"categories":["arts_1","arts_967"],"tags":["arts_12958","arts_1238","arts_10278","arts_10318","arts_1321","arts_1072","arts_10478"],"featImg":"arts_13890058","label":"source_arts_13890054"},"arts_13890362":{"type":"posts","id":"arts_13890362","meta":{"index":"posts_1591205157","site":"arts","id":"13890362","score":null,"sort":[1607973070000]},"guestAuthors":[],"slug":"npr-critics-pick-their-favorite-tv-from-a-strange-2020","title":"NPR Critics Pick Their Favorite TV From a Strange 2020","publishDate":1607973070,"format":"standard","headTitle":"NPR Critics Pick Their Favorite TV From a Strange 2020 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>It has been a momentous year for everything we consider TV.\u003c/p>\n\u003cp>A pandemic, civil rights reckoning, streaming war and presidential election shook up the industry in a dozen different ways. It blurred lines between genres, platforms and story forms, while also encouraging us to develop our own, deep rabbit holes of favorite media. So when our team of four critics sat down to figure out what we liked most onscreen this year, we each had a lot of stuff on our lists no one else did. [aside postid='arts_13890197']\u003c/p>\n\u003cp>That’s why our list crosses a lot of boundaries, including projects technically released as feature films. It’s a powerful example of how much quality entertainment was available this year, even after coronavirus lockdowns shut down productions and upended release schedules.\u003c/p>\n\u003cp>In alphabetical order, here’s our best of 2020—and we know it’s a long list, so you can use these alphabetical links to skip around: \u003ca href=\"#B\">B\u003c/a>, \u003ca href=\"#C\">C\u003c/a>, \u003ca href=\"#D\">D\u003c/a>, \u003ca href=\"#F\">F\u003c/a>, \u003ca href=\"#G\">G\u003c/a>, \u003ca href=\"#H\">H\u003c/a>, \u003ca href=\"#I\">I\u003c/a>, \u003ca href=\"#J\">J\u003c/a>, \u003ca href=\"#L\">L\u003c/a>, \u003ca href=\"#M\">M\u003c/a>, \u003ca href=\"#N\">N\u003c/a>, \u003ca href=\"#O\">O\u003c/a>, \u003ca href=\"#P\">P\u003c/a>, \u003ca href=\"#Q\">Q\u003c/a>, \u003ca href=\"#T\">T\u003c/a>, \u003ca href=\"#W\">W\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Better Call Saul, Season 5 \u003c/em>\u003c/strong>\u003cstrong>(AMC, Amazon Prime rental, earlier seasons on Netflix)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This outstanding FX series long ago rendered pointless any comparisons to \u003cem>Breaking Bad\u003c/em>, of which it is technically a prequel. The story it’s telling is so very much its own—by turns gritty and funny, melancholic and viciously violent. In its penultimate season, the transformation of Jimmy McGill (Bob Odenkirk) into Saul Goodman—a criminal lawyer who’s actually a \u003cem>criminal\u003c/em> lawyer—is just about complete. We finally saw the series’ two disparate plot threads—Jimmy’s and Mike’s (Jonathan Banks)—come together, a richly satisfying consummation for those viewers who’ve complained about the series’ pacing, and who’ve longed for those two characters to share the screen. The fact that it’s all set against the very real, and immensely worrying, potential downfall of the show’s beating heart—Rhea Seehorn’s astonishing performance as Jimmy’s girlfriend Kim—invests us that much deeply in the show’s dangerous and duplicitous world. — \u003cem>Glen Weldon, Aisha Harris, Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Black Is King\u003c/em>\u003c/strong>\u003cstrong> (Disney+)/\u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>In a year that saw lots of reflection on systemic racism and police brutality, these two films offered emotional, effective meditations on Black joy and pain in very different ways. \u003cem>Black Is King\u003c/em> is Beyoncé’s “visual album,” loosely inspired by \u003cem>The Lion King\u003c/em> story, using arresting images and banging tunes to portray the peoples of the African diaspora rediscovering their heritage as leaders and royalty. \u003cem>Between the World and Me\u003c/em> is a different kind of tone poem, centered on passages read by performers like Oprah Winfrey from Ta-Nehisi Coates’ book, which was written as a letter to his teen son. It explores the dangers Black people face from police brutality and the joy which comes from Black love and achievement, perfectly presenting the duality of African American life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>BoJack Horseman, Season 6, Part II \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>After five-plus seasons watching a washed-up sitcom horse wrestle with drug addiction, narcissism, childhood traumas and the traumas he inflicted upon others, BoJack Horseman’s story came to an end that was as satisfying as one could hope. What the show did best (besides insanely clever animal puns and skewering Hollywood) was really question and challenge the arc of redemption for people (or horses) who have caused an immeasurable amount of pain to others. Right up to its final moments, the writers and animators didn’t let up, remaining as inquisitive and creative as ever. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Boys State\u003c/em>\u003c/strong> \u003cstrong>(Apple TV+)\u003c/strong>\u003c/p>\n\u003cp>Set at Boys State in Texas, a program where high school boys run for office and form a mock government, this is a documentary not for the faint of heart. It shows kids whose approach to politics is already hardened, already combative beyond the substance of it. Combative for its own sake. While there are moments that show the promise of young activists and idealists, there are also dark signs that a lot of kids who have grown up in our fractured and nasty political climate have learned plenty from the politicians who have endeavored at every turn to make it worse. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park\u003c/strong>\u003c/em> \u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>This documentary functions, at one level, as a document laying out the details of a very specific time and place: Action Park in New Jersey, famous for being the amusement park where kids got hurt. But with the help of excellent input from Class Action Park patrons and comedian Chris Gethard, it turns into a consideration of nostalgia more generally, and of what it means to know you had a great time doing something that was a very bad idea. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Da 5 Bloods \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Spike Lee’s usage of Marvin Gaye’s \u003cem>What’s Going On?\u003c/em> album is divine; his nods and references to everything from \u003cem>The Treasure of the Sierra Madre \u003c/em>to \u003cem>Rambo \u003c/em>are thoughtful and layered; Chadwick Boseman, in one of his final roles, is a powerful and spiritual presence. But this movie belongs to Delroy Lindo, who cuts an imposing and indelible figure as Paul, a Vietnam War vet worn down by unresolved guilt, wrecked by bitterness, sadness and fear. He finds shades to play with in every feeling and thought, giving one of the great performances in recent memory. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>David Byrne’s American Utopia \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>[aside postid='arts_13890048']\u003c/p>\n\u003cp>It was a year when we were starved for good feelings, a year when mere happiness felt like ecstatic joy, and real ecstatic joy—like that on glorious display on a Broadway stage by a barefoot David Byrne and a cadre of musicians in matching gray suits—could leave you breathless, swooning and profoundly grateful. Directed by Spike Lee, the theatrical concert film spans Byrne’s musical career but—as with any production associated with Byrne—it leaves plenty of room to get enthusiastically weird. Wireless technology allows the musicians to roam the stage, and they do so in lock-step choreography, like the hippest high school marching band imaginable. A special treat for longtime Talking Heads fans: We finally get the live version of “Born Under Punches (The Heat Goes On)” that we didn’t know we’ve been aching for, all this time. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>First Cow \u003c/em>\u003c/strong>\u003cstrong>(Showtime, DIRECTTV, and numerous rental sites) \u003c/strong>\u003c/p>\n\u003cp>It’s astounding how much suspense director Kelly Reichardt is able to derive from the act of milking a cow. In early 19th-century Oregon Territory, skillful cook Otis “Cookie” Figowitz (John Magaro) befriends King-Lu, an enterprising Chinese immigrant (Orion Lee) and outlaw. Together, they conjure up a successful business at a market outpost selling oily cakes to hungry traders; the recipe requires a very scarce commodity around those parts: cow’s milk. It’s one-part heist film and another part buddy adventure, with a tender—and often humorous—friendship at its center. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Flight Attendant\u003c/em>\u003c/strong>\u003cstrong> (HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Based on the novel by Chris Bohjalian, this smart, taut HBO Max thriller stars Kaley Cuoco as, well, a flight attendant who wakes up after a night of partying and realizes something very, very bad happened while she was asleep. Part mystery, part drama about the aftereffects of a traumatic childhood, and part dark comedy, it was one of the most pleasant surprises of the year, impressing with its razor-sharp tone, supporting performances (Zosia Mamet is tremendous as Cuoco’s best friend), and heartfelt work from Cuoco. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Forty-Year-Old Version \u003c/em>\u003c/strong>\u003cstrong>(Netflix) \u003c/strong>\u003c/p>\n\u003cp>Radha Blank’s debut as a feature film director, writer and star is an engaging portrait of an artist at an existential crossroad, professional and personal. This is a refreshingly specific mid-life crisis, one borrowing from Blank’s own life as a born-and-bred New York writer and rapper known as RhadaMUS Prime. It’s funny and poignant, and the banter and characters feel real and alive. Radha the character may lack confidence at times, but real-life Radha the filmmaker is very self-assured. — \u003cem>Aisha Harris, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Good Place, Season 4 \u003c/em>\u003c/strong>\u003cstrong>(NBC, Netflix, Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>The road to this perfectly poignant finale wasn’t smooth. Much of seasons 3 and 4 lacked the bite of the earlier seasons, and as the gang fought to prove that there was a fundamental glitch in the sorting of heaven and hell, it felt almost like Mike Schur and his team were spinning wheels. But they stuck the landing anyway, bringing back some of that subversiveness by daring to suggest there can come a point when you feel as though you’ve done all you wanted to do in (the after)life and it’s time to move on. It’s a dark thing to contemplate, but it’s also honest. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Great \u003c/em>\u003c/strong>\u003cstrong>(Hulu)\u003c/strong>\u003c/p>\n\u003cp>Billed as “An Occasionally True Story,” this series about young Catherine (Elle Fanning) and her ill-fated marriage to Emperor Peter of Russia (Nicholas Hoult) is stuffed with gleefully ahistorical elements that’ll send students of Russian history into aneurysms. Fanning is terrific as an idealistic (and self-satisfied) would-be social reformer, while Hoult’s Peter is a nightmare—a sociopathic boor poured into a pair of tight leather pants. \u003cem>The Great \u003c/em>was created by Tony McNamara, based on his 2008 play. McNamara went on to co-write 2018’s \u003cem>The Favourite\u003c/em>, and if you’ve seen that film, you know what to expect here—yes, bustles and corsets, wigs and snuffboxes, but also crisp ripostes, lacerating insults and dialogue that sizzles with withering wit. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Harley Quinn\u003c/em>\u003c/strong>\u003cstrong> (DC Universe and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Given the sheer tonnage of live action superhero shows on TV, it’s notable that the most gonzo, subversive, hilarious, action packed, explicit and entertaining take on the DC comics universe is actually this animated series. Originally created for the streaming service DC Universe, it now lives on HBO Max, where \u003cem>Big Bang Theory\u003c/em> alum Kaley Cuoco voices the Joker’s former girlfriend as an unpredictable, profanity-slinging romantic who resists the ex who exploited her. It’s a comedy of sorts where even Batman is a bit of a doofus, featuring Harley leading a team of misfit baddies who struggle for recognition as Gotham City’s leading villains, redefining adult-oriented superhero stories in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Haunting of Bly Manor \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>The first installment of this Netflix series\u003cem>, The Haunting of Hill House\u003c/em>, was packed with plenty of good, ghostly scares—but it lagged in the middle, and whiffed the ending. With \u003cem>The Haunting of Bly Manor\u003c/em> creator and showrunner Mike Flanagan hasn’t simply found a new author to riff on (Henry James, instead of Shirley Jackson) he has seriously course-corrected. Though it parcels out the scares more thinly than \u003cem>Hill House \u003c/em>did, \u003cem>Bly Manor\u003c/em>‘s story is tighter, and it nails the all-important dismount in a sincere, humane and bittersweet way that directly addresses the nature, and the purpose, of grief. It’s not overtly tidy or dully expositional—yet it feels, in the best way, inevitable. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>I Hate Suzie\u003c/strong>\u003c/em>\u003cstrong> (HBO Max) \u003c/strong>\u003c/p>\n\u003cp>This British series—just eight episodes, as is their wont—stars the great Billie Piper as an actress whose nudes end up on the Internet after her phone gets hacked. She then proceeds to make a series of \u003cem>wildly\u003c/em> terrible decisions to deal with it—or \u003cem>not\u003c/em> deal with it, as the case may be. It won’t be for everyone. Think of it as the anti-\u003cem>Ted Lasso—\u003c/em>there’s little here that’s comforting or warm. Try it on for size: Watch the first episode, in which a huge crowd comes tromping through her home for a photo shoot just as she’s first finding out about the leaked nudes. She keeps trying to find some privacy—and keep her husband from finding out—in a long stretch of tense, claustrophobic, downright nightmarish scenes, many of which take place entirely in a tight close-up of Piper’s face as she attempts to keep from panicking. If it grabs you, you’ll watch the rest of the episodes through your fingers—but you will watch them, compulsively. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I May Destroy You\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Michaela Coel’s series about a woman exploring the aftermath of a sexual assault shone a spotlight on Coel’s own acting, writing, and in some cases directing. It also became a broader examination of ethics in sex and relationships, from the traumatic to the questionable to the unkind. The supporting cast and dizzying structural turns made the HBO show one of the most exciting of 2020. — \u003cem>Linda Holmes, Aisha Harris, Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Invisible Man \u003c/em>\u003c/strong>\u003cstrong>(HBO, HBO Max and numerous rental sites)\u003c/strong>\u003c/p>\n\u003cp>Elisabeth Moss stars as a woman who begins to fear she’s crazy when she keeps sensing her dead abusive husband everywhere. From there, the film becomes a consideration of paranoia, trauma and ultimately the desire to reclaim a connection to reality that’s come undone as a result of repeated, relentless gaslighting. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>John Mulaney and the Sack Lunch Bunch \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Point of order: This comedy special debuted on Dec. 25, 2019—after we made our annual list—so it slides in here on a technicality. But it certainly belongs—no comedy special has won me over so hard, so completely. Mulaney’s idiosyncratic sensibility might seem an odd fit for what is essentially an extended riff on old children’s television programming, but it works seamlessly here. That’s a product of the writing, which is wry but never cynical, but it’s also an outgrowth of the casting. These kid actors aren’t pushing it—they easily find Mulaney’s particular comedic frequency, and stick to it. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Last Dance\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Basketball legend Michael Jordan looms over every frame of this revealing documentary series first shown on ESPN, and not just because it expertly documents his final championship season with the Chicago Bulls in 1997-98. It’s an incisive look at how that team became a world-crushing, pop-culture-dominating force, with special detail on how Jordan built his legend. Other stories also resonate: How Dennis Rodman nearly committed suicide before he joined the Bulls; how teammate Scottie Pippen was continually underpaid; how Jordan was merciless about pushing his teammates and cultivating grudges to boost his performance. Jordan was involved as a producer and had to approve use of the Bulls’ behind-the-scenes footage, giving him even more control. But despite his influence, this miniseries offers a never-before-seen look at a once in a generation team. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovecraft Country\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Packed to bursting with symbolism, special effects, allegory, social messages, reinvented horror tropes and enough plot to require a YouTube explainer for every episode, this audacious take on Matt Ruff’s 2016 novel is a lot. But its story, placing a Black family at the heart of a pitched battle with a white family of witches in the Jim Crow-era 1950s, is a marvel of ambition and craft. Comparing the horrors of racism to the supernatural horrors found in novels by H.P. Lovecraft—himself an infamous xenophobe and racist—reinvents the genre in unexpected ways. And the work of executive producer/writer/director Misha Green to showcase the power of Black love and family in a series dropping during the summer’s reckoning over systemic racism and police brutality, was exquisitely perfect timing. — \u003cem>Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovers Rock \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>This entry in Steve McQueen’s excellent \u003cem>Small Axe \u003c/em>anthology series will surely make you want to seek out its soundtrack, which is bubbling with classics of the reggae subgenre from which it gets its title. But as you follow these young West Indian Londoners mingling, dancing, flirting and rebuffing aggressive strangers at a lively house party on one evening in 1980, it will also transport you to a realm of beauty and intimacy. It’s a musical reverie that manages to capture the exultation of the arrival of the weekend, and the sanctity of Black community. — \u003cem>Aisha Harris \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mucho Mucho Amor\u003c/em>\u003c/strong> \u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Netflix presented this documentary about legendary astrologer Walter Mercado to an audience that included both people who grew up watching him on television every day and people who knew him hardly at all. It told a story that was alternatively sad and stirring, but it ultimately gave the man his due as a legend who was part of the lives of many families and who found himself poorly treated by some of those close to him. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The New Pope \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>[aside postid='arts_13890093']\u003c/p>\n\u003cp>\u003cem>The New Pope\u003c/em>, like \u003cem>The Young Pope\u003c/em> before it, is all about jockeying for a very earthly kind of power behind the scenes of the Vatican. The vaguely odd, singular tone of that first series persists, as does the many Italian actors’ tendencies to emphasize words that native English speakers wouldn’t necessarily emphasize, and insert long, meaningful pauses (creator Paolo Sorrentino loves his pauses) where native English speakers wouldn’t. It all adds to the sense that you’re watching the show from across a vague, yet palpable cultural divide—the ecclesiastical drama as Mentos commercial. Despite the title change and the swapping out of Jude Law’s Pius XIII for John Malkovich’s Sir John Brannox, Sorrentino’s camera still tracks slowly and languidly through immense arched hallways, vaulted rooms and lush gardens, pausing to alight upon small, telling details. Malkovich revels in his portrayal of Brannox as a louche, mascara-wearing British fop who flounces through life—a man who can be counted upon to find the nearest chaise in any room and recline upon it as if he has just been roughly flung there. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Normal People\u003c/em>\u003c/strong>\u003cstrong> (Hulu)\u003c/strong>\u003c/p>\n\u003cp>The Sally Rooney novel about two young students who fall in love and watch their lives intersect over many years was a hit, and adapting it into a limited series was a challenge since it’s so reliant on the interiority of the lead characters. But leads Daisy Edgar-Jones and Paul Mescal brought their scenes together an intimacy and grace that kept the wide-ranging story in focus. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>On The Record \u003c/em>\u003c/strong>\u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Making a documentary about the reckoning over sexual harassment in music would have been too broad an assignment for any filmmaker. So it makes sense that this one is narrower: It is primarily about allegations against hip-hop mogul Russell Simmons, and even more specifically about Drew Dixon, an A&R executive who says she saw her career founder after being assaulted by Simmons. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ozark, Season 3\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Critics who dismiss this drama about a family juggling internal drama and FBI scrutiny while laundering money for a Mexican drug cartel in the Ozarks (some have dubbed it “Breaking Bad: The Family Edition”) have missed the point. Especially in this year’s powerhouse third season, Ozark raised its game, adding Janet McTeer as a domineering cartel lawyer and Tom Pelphrey in a shamefully under-recognized turn as the bipolar brother of matriarch Wendy Byrde, played by Laura Linney. Pelphrey was heart-rending as the only person who saw how terrible the Byrdes’ activities were, despite his mental illness. And the show’s ability to keep viewers invested in Jason Bateman’s numbers whiz, patriarch Marty Byrde—no matter who he gets killed or rips off—is nothing short of amazing. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>P-Valley \u003c/em>\u003c/strong>\u003cstrong>(STARZ) \u003c/strong>\u003c/p>\n\u003cp>In lesser hands, Uncle Clifford (Nicco Annan)—the towering, flamboyant non-binary strip club owner whose drawl kind of sounds like Katt Williams—could have easily turned out to be little more than sassy caricature. But Katori Hall’s soapy melodrama about a rural Mississippi town and its colorful inhabitants takes its characters seriously, and over the course of this crackling first season they emerge more unique and interesting than their “types” might initially suggest. The show also brings a new level of respect to the artistry and precision of pole dancing—among the highlights are those extensive routines backed by dirty, thumping Southern hip-hop. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Queen’s Gambit\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Before I saw one scene of chess play, I was all in for a miniseries showing a talented, self-possessed woman mastering a game dominated by men in the 1950s and ’60s, knocking them off like clay pigeons on her way to the world championship. But this series, crafted by Scott Frank based on a 1983 novel, also plays like a superhero origin story. In a magnetic performance, Anya Taylor-Joy brings liquid eyes and an inscrutable manner to chess prodigy Beth Harmon, who must overcome substance abuse, the influence of her suicidal mom and a sexist world to reach her goals. Toss in a period-specific, lavish production and direction that actually makes chess look interesting, and you have the ingredients of a modern TV masterpiece. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ted Lasso\u003c/em>\u003c/strong>\u003cstrong> (Apple TV+) \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> alum Jason Sudeikis is funny, bumbling and occasionally heartbreaking as Ted Lasso, a stupendously optimistic American college football coach hired to lead a Premiere League soccer team in England. The owner is actually trying to sabotage the team by hiring Lasso, who knows nothing about soccer—or “football,” as they call it in Britain. But she doesn’t realize his true superpower is that he’s so gosh darned nice. It may sound a little hokey, but \u003cem>Ted Lasso\u003c/em> somehow builds a wonderful comedy around the healing power of niceness—deflating any hokum with a well-timed joke or two. And considering how tough 2020 has been, we all could use a lot of that message right about now. — \u003cem>Eric Deggans, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tiger King\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>The subjects of this docuseries became the butt of a thousand punchlines, as viewers dug into the tawdry tale of Joe Exotic—a publicity-seeking, pistol-packing character running a private zoo in Oklahoma who was convicted of paying a hitman to murder his longtime nemesis, self-styled animal conservationist Carol Baskin. Still, the series itself is an amazing achievement, exploring the eccentric and often exploitive underworld of exotic animal collectors and conservationists. Joe Exotic was the show’s unstable center, given to stunts like running for president and participating in an unofficial, three-way same sex marriage. But the show also featured footage filmed over years, as directors caught crucial moments on film and climbed inside the heart of a devastatingly dysfunctional subculture. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Time \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>There’s a profound sadness at the core of Garrett Bradley’s arresting documentary about Fox Rich, a Louisiana woman who spent decades tirelessly contesting her husband Robert’s 60-year prison sentence for a crime they both committed out of economic desperation. But there’s also a sense of optimism humming beneath it all, particularly in how Rich’s story unfolds on screen: via footage from approximately 100 hours of daily video diaries she made of herself and their children over the years, in the hopes of eventually having the opportunity to show it all to Robert. Bradley and editor Gabriel Rhodes take this treasure of a time capsule and turn out an absorbing masterpiece. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What We Do In The Shadows, Season 2 \u003c/em>\u003c/strong>\u003cstrong>(FX and FX on Hulu)\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As great as the first season of this modern-day-vampire mockumentary series was, it had trouble stepping out of the long … well, \u003cem>shadow\u003c/em> of the 2014 film on which it was based. That’s not to say there weren’t plenty of creative additions—Mark Proksch’s cardigan-clad “energy vampire” Colin Robinson, for example, the embodiment of all things evil … and beige. But in the second season, a stronger, more linear plot involving the show’s secret weapon (Harvey Guillén as Guillermo, the Staten-Island-based vampires’ long-suffering thrall/assistant who discovers as dark, hilarious truth about himself) leaves the viewer with the impression that the show has clicked into its groove. And speaking of groove: If the show did nothing but grace us with the presence of the marvelous Matt Barry at his bombastic best here playing the preternaturally self-impressed vampire Lazlo, it would be enough. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Critics+Pick+Their+Favorite+TV+From+A+Strange+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"If you could watch it at home in 2020, it's here—four NPR critics give their picks for the best in streaming or broadcast TV.","status":"publish","parent":0,"modified":1705019744,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":70,"wordCount":4275},"headData":{"title":"NPR Critics Pick Their Favorite TV From a Strange 2020 | KQED","description":"If you could watch it at home in 2020, it's here—four NPR critics give their picks for the best in streaming or broadcast TV.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"NPR Critics Pick Their Favorite TV From a Strange 2020","datePublished":"2020-12-14T19:11:10.000Z","dateModified":"2024-01-12T00:35:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Natalie Seery","nprByline":"Aisha Harris, Glen Weldon, Linda Holmes, Eric Deggans ","nprImageAgency":"HBO","nprStoryId":"945214786","nprApiLink":"http://api.npr.org/query?id=945214786&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/12/14/945214786/npr-critics-pick-their-favorite-tv-from-a-strange-2020?ft=nprml&f=945214786","nprRetrievedStory":"1","nprPubDate":"Mon, 14 Dec 2020 13:47:00 -0500","nprStoryDate":"Mon, 14 Dec 2020 07:00:25 -0500","nprLastModifiedDate":"Mon, 14 Dec 2020 13:47:37 -0500","templateType":"standard","featuredImageType":"standard","path":"/arts/13890362/npr-critics-pick-their-favorite-tv-from-a-strange-2020","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It has been a momentous year for everything we consider TV.\u003c/p>\n\u003cp>A pandemic, civil rights reckoning, streaming war and presidential election shook up the industry in a dozen different ways. It blurred lines between genres, platforms and story forms, while also encouraging us to develop our own, deep rabbit holes of favorite media. So when our team of four critics sat down to figure out what we liked most onscreen this year, we each had a lot of stuff on our lists no one else did. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890197","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s why our list crosses a lot of boundaries, including projects technically released as feature films. It’s a powerful example of how much quality entertainment was available this year, even after coronavirus lockdowns shut down productions and upended release schedules.\u003c/p>\n\u003cp>In alphabetical order, here’s our best of 2020—and we know it’s a long list, so you can use these alphabetical links to skip around: \u003ca href=\"#B\">B\u003c/a>, \u003ca href=\"#C\">C\u003c/a>, \u003ca href=\"#D\">D\u003c/a>, \u003ca href=\"#F\">F\u003c/a>, \u003ca href=\"#G\">G\u003c/a>, \u003ca href=\"#H\">H\u003c/a>, \u003ca href=\"#I\">I\u003c/a>, \u003ca href=\"#J\">J\u003c/a>, \u003ca href=\"#L\">L\u003c/a>, \u003ca href=\"#M\">M\u003c/a>, \u003ca href=\"#N\">N\u003c/a>, \u003ca href=\"#O\">O\u003c/a>, \u003ca href=\"#P\">P\u003c/a>, \u003ca href=\"#Q\">Q\u003c/a>, \u003ca href=\"#T\">T\u003c/a>, \u003ca href=\"#W\">W\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Better Call Saul, Season 5 \u003c/em>\u003c/strong>\u003cstrong>(AMC, Amazon Prime rental, earlier seasons on Netflix)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This outstanding FX series long ago rendered pointless any comparisons to \u003cem>Breaking Bad\u003c/em>, of which it is technically a prequel. The story it’s telling is so very much its own—by turns gritty and funny, melancholic and viciously violent. In its penultimate season, the transformation of Jimmy McGill (Bob Odenkirk) into Saul Goodman—a criminal lawyer who’s actually a \u003cem>criminal\u003c/em> lawyer—is just about complete. We finally saw the series’ two disparate plot threads—Jimmy’s and Mike’s (Jonathan Banks)—come together, a richly satisfying consummation for those viewers who’ve complained about the series’ pacing, and who’ve longed for those two characters to share the screen. The fact that it’s all set against the very real, and immensely worrying, potential downfall of the show’s beating heart—Rhea Seehorn’s astonishing performance as Jimmy’s girlfriend Kim—invests us that much deeply in the show’s dangerous and duplicitous world. — \u003cem>Glen Weldon, Aisha Harris, Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Black Is King\u003c/em>\u003c/strong>\u003cstrong> (Disney+)/\u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>In a year that saw lots of reflection on systemic racism and police brutality, these two films offered emotional, effective meditations on Black joy and pain in very different ways. \u003cem>Black Is King\u003c/em> is Beyoncé’s “visual album,” loosely inspired by \u003cem>The Lion King\u003c/em> story, using arresting images and banging tunes to portray the peoples of the African diaspora rediscovering their heritage as leaders and royalty. \u003cem>Between the World and Me\u003c/em> is a different kind of tone poem, centered on passages read by performers like Oprah Winfrey from Ta-Nehisi Coates’ book, which was written as a letter to his teen son. It explores the dangers Black people face from police brutality and the joy which comes from Black love and achievement, perfectly presenting the duality of African American life. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>BoJack Horseman, Season 6, Part II \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>After five-plus seasons watching a washed-up sitcom horse wrestle with drug addiction, narcissism, childhood traumas and the traumas he inflicted upon others, BoJack Horseman’s story came to an end that was as satisfying as one could hope. What the show did best (besides insanely clever animal puns and skewering Hollywood) was really question and challenge the arc of redemption for people (or horses) who have caused an immeasurable amount of pain to others. Right up to its final moments, the writers and animators didn’t let up, remaining as inquisitive and creative as ever. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Boys State\u003c/em>\u003c/strong> \u003cstrong>(Apple TV+)\u003c/strong>\u003c/p>\n\u003cp>Set at Boys State in Texas, a program where high school boys run for office and form a mock government, this is a documentary not for the faint of heart. It shows kids whose approach to politics is already hardened, already combative beyond the substance of it. Combative for its own sake. While there are moments that show the promise of young activists and idealists, there are also dark signs that a lot of kids who have grown up in our fractured and nasty political climate have learned plenty from the politicians who have endeavored at every turn to make it worse. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Class Action Park\u003c/strong>\u003c/em> \u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>This documentary functions, at one level, as a document laying out the details of a very specific time and place: Action Park in New Jersey, famous for being the amusement park where kids got hurt. But with the help of excellent input from Class Action Park patrons and comedian Chris Gethard, it turns into a consideration of nostalgia more generally, and of what it means to know you had a great time doing something that was a very bad idea. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Da 5 Bloods \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Spike Lee’s usage of Marvin Gaye’s \u003cem>What’s Going On?\u003c/em> album is divine; his nods and references to everything from \u003cem>The Treasure of the Sierra Madre \u003c/em>to \u003cem>Rambo \u003c/em>are thoughtful and layered; Chadwick Boseman, in one of his final roles, is a powerful and spiritual presence. But this movie belongs to Delroy Lindo, who cuts an imposing and indelible figure as Paul, a Vietnam War vet worn down by unresolved guilt, wrecked by bitterness, sadness and fear. He finds shades to play with in every feeling and thought, giving one of the great performances in recent memory. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>David Byrne’s American Utopia \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890048","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a year when we were starved for good feelings, a year when mere happiness felt like ecstatic joy, and real ecstatic joy—like that on glorious display on a Broadway stage by a barefoot David Byrne and a cadre of musicians in matching gray suits—could leave you breathless, swooning and profoundly grateful. Directed by Spike Lee, the theatrical concert film spans Byrne’s musical career but—as with any production associated with Byrne—it leaves plenty of room to get enthusiastically weird. Wireless technology allows the musicians to roam the stage, and they do so in lock-step choreography, like the hippest high school marching band imaginable. A special treat for longtime Talking Heads fans: We finally get the live version of “Born Under Punches (The Heat Goes On)” that we didn’t know we’ve been aching for, all this time. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>First Cow \u003c/em>\u003c/strong>\u003cstrong>(Showtime, DIRECTTV, and numerous rental sites) \u003c/strong>\u003c/p>\n\u003cp>It’s astounding how much suspense director Kelly Reichardt is able to derive from the act of milking a cow. In early 19th-century Oregon Territory, skillful cook Otis “Cookie” Figowitz (John Magaro) befriends King-Lu, an enterprising Chinese immigrant (Orion Lee) and outlaw. Together, they conjure up a successful business at a market outpost selling oily cakes to hungry traders; the recipe requires a very scarce commodity around those parts: cow’s milk. It’s one-part heist film and another part buddy adventure, with a tender—and often humorous—friendship at its center. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Flight Attendant\u003c/em>\u003c/strong>\u003cstrong> (HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Based on the novel by Chris Bohjalian, this smart, taut HBO Max thriller stars Kaley Cuoco as, well, a flight attendant who wakes up after a night of partying and realizes something very, very bad happened while she was asleep. Part mystery, part drama about the aftereffects of a traumatic childhood, and part dark comedy, it was one of the most pleasant surprises of the year, impressing with its razor-sharp tone, supporting performances (Zosia Mamet is tremendous as Cuoco’s best friend), and heartfelt work from Cuoco. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Forty-Year-Old Version \u003c/em>\u003c/strong>\u003cstrong>(Netflix) \u003c/strong>\u003c/p>\n\u003cp>Radha Blank’s debut as a feature film director, writer and star is an engaging portrait of an artist at an existential crossroad, professional and personal. This is a refreshingly specific mid-life crisis, one borrowing from Blank’s own life as a born-and-bred New York writer and rapper known as RhadaMUS Prime. It’s funny and poignant, and the banter and characters feel real and alive. Radha the character may lack confidence at times, but real-life Radha the filmmaker is very self-assured. — \u003cem>Aisha Harris, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Good Place, Season 4 \u003c/em>\u003c/strong>\u003cstrong>(NBC, Netflix, Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>The road to this perfectly poignant finale wasn’t smooth. Much of seasons 3 and 4 lacked the bite of the earlier seasons, and as the gang fought to prove that there was a fundamental glitch in the sorting of heaven and hell, it felt almost like Mike Schur and his team were spinning wheels. But they stuck the landing anyway, bringing back some of that subversiveness by daring to suggest there can come a point when you feel as though you’ve done all you wanted to do in (the after)life and it’s time to move on. It’s a dark thing to contemplate, but it’s also honest. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Great \u003c/em>\u003c/strong>\u003cstrong>(Hulu)\u003c/strong>\u003c/p>\n\u003cp>Billed as “An Occasionally True Story,” this series about young Catherine (Elle Fanning) and her ill-fated marriage to Emperor Peter of Russia (Nicholas Hoult) is stuffed with gleefully ahistorical elements that’ll send students of Russian history into aneurysms. Fanning is terrific as an idealistic (and self-satisfied) would-be social reformer, while Hoult’s Peter is a nightmare—a sociopathic boor poured into a pair of tight leather pants. \u003cem>The Great \u003c/em>was created by Tony McNamara, based on his 2008 play. McNamara went on to co-write 2018’s \u003cem>The Favourite\u003c/em>, and if you’ve seen that film, you know what to expect here—yes, bustles and corsets, wigs and snuffboxes, but also crisp ripostes, lacerating insults and dialogue that sizzles with withering wit. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Harley Quinn\u003c/em>\u003c/strong>\u003cstrong> (DC Universe and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Given the sheer tonnage of live action superhero shows on TV, it’s notable that the most gonzo, subversive, hilarious, action packed, explicit and entertaining take on the DC comics universe is actually this animated series. Originally created for the streaming service DC Universe, it now lives on HBO Max, where \u003cem>Big Bang Theory\u003c/em> alum Kaley Cuoco voices the Joker’s former girlfriend as an unpredictable, profanity-slinging romantic who resists the ex who exploited her. It’s a comedy of sorts where even Batman is a bit of a doofus, featuring Harley leading a team of misfit baddies who struggle for recognition as Gotham City’s leading villains, redefining adult-oriented superhero stories in the process. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Haunting of Bly Manor \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>The first installment of this Netflix series\u003cem>, The Haunting of Hill House\u003c/em>, was packed with plenty of good, ghostly scares—but it lagged in the middle, and whiffed the ending. With \u003cem>The Haunting of Bly Manor\u003c/em> creator and showrunner Mike Flanagan hasn’t simply found a new author to riff on (Henry James, instead of Shirley Jackson) he has seriously course-corrected. Though it parcels out the scares more thinly than \u003cem>Hill House \u003c/em>did, \u003cem>Bly Manor\u003c/em>‘s story is tighter, and it nails the all-important dismount in a sincere, humane and bittersweet way that directly addresses the nature, and the purpose, of grief. It’s not overtly tidy or dully expositional—yet it feels, in the best way, inevitable. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>I Hate Suzie\u003c/strong>\u003c/em>\u003cstrong> (HBO Max) \u003c/strong>\u003c/p>\n\u003cp>This British series—just eight episodes, as is their wont—stars the great Billie Piper as an actress whose nudes end up on the Internet after her phone gets hacked. She then proceeds to make a series of \u003cem>wildly\u003c/em> terrible decisions to deal with it—or \u003cem>not\u003c/em> deal with it, as the case may be. It won’t be for everyone. Think of it as the anti-\u003cem>Ted Lasso—\u003c/em>there’s little here that’s comforting or warm. Try it on for size: Watch the first episode, in which a huge crowd comes tromping through her home for a photo shoot just as she’s first finding out about the leaked nudes. She keeps trying to find some privacy—and keep her husband from finding out—in a long stretch of tense, claustrophobic, downright nightmarish scenes, many of which take place entirely in a tight close-up of Piper’s face as she attempts to keep from panicking. If it grabs you, you’ll watch the rest of the episodes through your fingers—but you will watch them, compulsively. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I May Destroy You\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Michaela Coel’s series about a woman exploring the aftermath of a sexual assault shone a spotlight on Coel’s own acting, writing, and in some cases directing. It also became a broader examination of ethics in sex and relationships, from the traumatic to the questionable to the unkind. The supporting cast and dizzying structural turns made the HBO show one of the most exciting of 2020. — \u003cem>Linda Holmes, Aisha Harris, Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Invisible Man \u003c/em>\u003c/strong>\u003cstrong>(HBO, HBO Max and numerous rental sites)\u003c/strong>\u003c/p>\n\u003cp>Elisabeth Moss stars as a woman who begins to fear she’s crazy when she keeps sensing her dead abusive husband everywhere. From there, the film becomes a consideration of paranoia, trauma and ultimately the desire to reclaim a connection to reality that’s come undone as a result of repeated, relentless gaslighting. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>John Mulaney and the Sack Lunch Bunch \u003c/em>\u003c/strong>\u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Point of order: This comedy special debuted on Dec. 25, 2019—after we made our annual list—so it slides in here on a technicality. But it certainly belongs—no comedy special has won me over so hard, so completely. Mulaney’s idiosyncratic sensibility might seem an odd fit for what is essentially an extended riff on old children’s television programming, but it works seamlessly here. That’s a product of the writing, which is wry but never cynical, but it’s also an outgrowth of the casting. These kid actors aren’t pushing it—they easily find Mulaney’s particular comedic frequency, and stick to it. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Last Dance\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Basketball legend Michael Jordan looms over every frame of this revealing documentary series first shown on ESPN, and not just because it expertly documents his final championship season with the Chicago Bulls in 1997-98. It’s an incisive look at how that team became a world-crushing, pop-culture-dominating force, with special detail on how Jordan built his legend. Other stories also resonate: How Dennis Rodman nearly committed suicide before he joined the Bulls; how teammate Scottie Pippen was continually underpaid; how Jordan was merciless about pushing his teammates and cultivating grudges to boost his performance. Jordan was involved as a producer and had to approve use of the Bulls’ behind-the-scenes footage, giving him even more control. But despite his influence, this miniseries offers a never-before-seen look at a once in a generation team. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovecraft Country\u003c/em>\u003c/strong>\u003cstrong> (HBO and HBO Max) \u003c/strong>\u003c/p>\n\u003cp>Packed to bursting with symbolism, special effects, allegory, social messages, reinvented horror tropes and enough plot to require a YouTube explainer for every episode, this audacious take on Matt Ruff’s 2016 novel is a lot. But its story, placing a Black family at the heart of a pitched battle with a white family of witches in the Jim Crow-era 1950s, is a marvel of ambition and craft. Comparing the horrors of racism to the supernatural horrors found in novels by H.P. Lovecraft—himself an infamous xenophobe and racist—reinvents the genre in unexpected ways. And the work of executive producer/writer/director Misha Green to showcase the power of Black love and family in a series dropping during the summer’s reckoning over systemic racism and police brutality, was exquisitely perfect timing. — \u003cem>Eric Deggans, Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Lovers Rock \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>This entry in Steve McQueen’s excellent \u003cem>Small Axe \u003c/em>anthology series will surely make you want to seek out its soundtrack, which is bubbling with classics of the reggae subgenre from which it gets its title. But as you follow these young West Indian Londoners mingling, dancing, flirting and rebuffing aggressive strangers at a lively house party on one evening in 1980, it will also transport you to a realm of beauty and intimacy. It’s a musical reverie that manages to capture the exultation of the arrival of the weekend, and the sanctity of Black community. — \u003cem>Aisha Harris \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mucho Mucho Amor\u003c/em>\u003c/strong> \u003cstrong>(Netflix)\u003c/strong>\u003c/p>\n\u003cp>Netflix presented this documentary about legendary astrologer Walter Mercado to an audience that included both people who grew up watching him on television every day and people who knew him hardly at all. It told a story that was alternatively sad and stirring, but it ultimately gave the man his due as a legend who was part of the lives of many families and who found himself poorly treated by some of those close to him. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The New Pope \u003c/em>\u003c/strong>\u003cstrong>(HBO and HBO Max) \u003c/strong>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890093","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The New Pope\u003c/em>, like \u003cem>The Young Pope\u003c/em> before it, is all about jockeying for a very earthly kind of power behind the scenes of the Vatican. The vaguely odd, singular tone of that first series persists, as does the many Italian actors’ tendencies to emphasize words that native English speakers wouldn’t necessarily emphasize, and insert long, meaningful pauses (creator Paolo Sorrentino loves his pauses) where native English speakers wouldn’t. It all adds to the sense that you’re watching the show from across a vague, yet palpable cultural divide—the ecclesiastical drama as Mentos commercial. Despite the title change and the swapping out of Jude Law’s Pius XIII for John Malkovich’s Sir John Brannox, Sorrentino’s camera still tracks slowly and languidly through immense arched hallways, vaulted rooms and lush gardens, pausing to alight upon small, telling details. Malkovich revels in his portrayal of Brannox as a louche, mascara-wearing British fop who flounces through life—a man who can be counted upon to find the nearest chaise in any room and recline upon it as if he has just been roughly flung there. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Normal People\u003c/em>\u003c/strong>\u003cstrong> (Hulu)\u003c/strong>\u003c/p>\n\u003cp>The Sally Rooney novel about two young students who fall in love and watch their lives intersect over many years was a hit, and adapting it into a limited series was a challenge since it’s so reliant on the interiority of the lead characters. But leads Daisy Edgar-Jones and Paul Mescal brought their scenes together an intimacy and grace that kept the wide-ranging story in focus. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>On The Record \u003c/em>\u003c/strong>\u003cstrong>(HBO Max)\u003c/strong>\u003c/p>\n\u003cp>Making a documentary about the reckoning over sexual harassment in music would have been too broad an assignment for any filmmaker. So it makes sense that this one is narrower: It is primarily about allegations against hip-hop mogul Russell Simmons, and even more specifically about Drew Dixon, an A&R executive who says she saw her career founder after being assaulted by Simmons. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ozark, Season 3\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Critics who dismiss this drama about a family juggling internal drama and FBI scrutiny while laundering money for a Mexican drug cartel in the Ozarks (some have dubbed it “Breaking Bad: The Family Edition”) have missed the point. Especially in this year’s powerhouse third season, Ozark raised its game, adding Janet McTeer as a domineering cartel lawyer and Tom Pelphrey in a shamefully under-recognized turn as the bipolar brother of matriarch Wendy Byrde, played by Laura Linney. Pelphrey was heart-rending as the only person who saw how terrible the Byrdes’ activities were, despite his mental illness. And the show’s ability to keep viewers invested in Jason Bateman’s numbers whiz, patriarch Marty Byrde—no matter who he gets killed or rips off—is nothing short of amazing. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>P-Valley \u003c/em>\u003c/strong>\u003cstrong>(STARZ) \u003c/strong>\u003c/p>\n\u003cp>In lesser hands, Uncle Clifford (Nicco Annan)—the towering, flamboyant non-binary strip club owner whose drawl kind of sounds like Katt Williams—could have easily turned out to be little more than sassy caricature. But Katori Hall’s soapy melodrama about a rural Mississippi town and its colorful inhabitants takes its characters seriously, and over the course of this crackling first season they emerge more unique and interesting than their “types” might initially suggest. The show also brings a new level of respect to the artistry and precision of pole dancing—among the highlights are those extensive routines backed by dirty, thumping Southern hip-hop. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Queen’s Gambit\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>Before I saw one scene of chess play, I was all in for a miniseries showing a talented, self-possessed woman mastering a game dominated by men in the 1950s and ’60s, knocking them off like clay pigeons on her way to the world championship. But this series, crafted by Scott Frank based on a 1983 novel, also plays like a superhero origin story. In a magnetic performance, Anya Taylor-Joy brings liquid eyes and an inscrutable manner to chess prodigy Beth Harmon, who must overcome substance abuse, the influence of her suicidal mom and a sexist world to reach her goals. Toss in a period-specific, lavish production and direction that actually makes chess look interesting, and you have the ingredients of a modern TV masterpiece. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ted Lasso\u003c/em>\u003c/strong>\u003cstrong> (Apple TV+) \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Saturday Night Live\u003c/em> alum Jason Sudeikis is funny, bumbling and occasionally heartbreaking as Ted Lasso, a stupendously optimistic American college football coach hired to lead a Premiere League soccer team in England. The owner is actually trying to sabotage the team by hiring Lasso, who knows nothing about soccer—or “football,” as they call it in Britain. But she doesn’t realize his true superpower is that he’s so gosh darned nice. It may sound a little hokey, but \u003cem>Ted Lasso\u003c/em> somehow builds a wonderful comedy around the healing power of niceness—deflating any hokum with a well-timed joke or two. And considering how tough 2020 has been, we all could use a lot of that message right about now. — \u003cem>Eric Deggans, Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tiger King\u003c/em>\u003c/strong>\u003cstrong> (Netflix) \u003c/strong>\u003c/p>\n\u003cp>The subjects of this docuseries became the butt of a thousand punchlines, as viewers dug into the tawdry tale of Joe Exotic—a publicity-seeking, pistol-packing character running a private zoo in Oklahoma who was convicted of paying a hitman to murder his longtime nemesis, self-styled animal conservationist Carol Baskin. Still, the series itself is an amazing achievement, exploring the eccentric and often exploitive underworld of exotic animal collectors and conservationists. Joe Exotic was the show’s unstable center, given to stunts like running for president and participating in an unofficial, three-way same sex marriage. But the show also featured footage filmed over years, as directors caught crucial moments on film and climbed inside the heart of a devastatingly dysfunctional subculture. — \u003cem>Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Time \u003c/em>\u003c/strong>\u003cstrong>(Amazon Prime) \u003c/strong>\u003c/p>\n\u003cp>There’s a profound sadness at the core of Garrett Bradley’s arresting documentary about Fox Rich, a Louisiana woman who spent decades tirelessly contesting her husband Robert’s 60-year prison sentence for a crime they both committed out of economic desperation. But there’s also a sense of optimism humming beneath it all, particularly in how Rich’s story unfolds on screen: via footage from approximately 100 hours of daily video diaries she made of herself and their children over the years, in the hopes of eventually having the opportunity to show it all to Robert. Bradley and editor Gabriel Rhodes take this treasure of a time capsule and turn out an absorbing masterpiece. — \u003cem>Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What We Do In The Shadows, Season 2 \u003c/em>\u003c/strong>\u003cstrong>(FX and FX on Hulu)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As great as the first season of this modern-day-vampire mockumentary series was, it had trouble stepping out of the long … well, \u003cem>shadow\u003c/em> of the 2014 film on which it was based. That’s not to say there weren’t plenty of creative additions—Mark Proksch’s cardigan-clad “energy vampire” Colin Robinson, for example, the embodiment of all things evil … and beige. But in the second season, a stronger, more linear plot involving the show’s secret weapon (Harvey Guillén as Guillermo, the Staten-Island-based vampires’ long-suffering thrall/assistant who discovers as dark, hilarious truth about himself) leaves the viewer with the impression that the show has clicked into its groove. And speaking of groove: If the show did nothing but grace us with the presence of the marvelous Matt Barry at his bombastic best here playing the preternaturally self-impressed vampire Lazlo, it would be enough. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Critics+Pick+Their+Favorite+TV+From+A+Strange+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890362/npr-critics-pick-their-favorite-tv-from-a-strange-2020","authors":["byline_arts_13890362"],"categories":["arts_1","arts_990"],"tags":["arts_9535","arts_12958"],"affiliates":["arts_137"],"featImg":"arts_13890363","label":"arts_137"},"arts_13890174":{"type":"posts","id":"arts_13890174","meta":{"index":"posts_1591205157","site":"arts","id":"13890174","score":null,"sort":[1607714703000]},"guestAuthors":[],"slug":"podcasts-for-inspiration-self-care-and-social-justice-this-holiday-season","title":"Podcasts for Inspiration, Self-Care and Social Justice This Holiday Season","publishDate":1607714703,"format":"standard","headTitle":"Podcasts for Inspiration, Self-Care and Social Justice This Holiday Season | KQED","labelTerm":{},"content":"\u003cp>We’re all about the gifts that bring us a little closer this holiday season. For a lot of us, podcasts have been a means for socially distanced yet intimate moments with friends, family and strangers. So we’ve put together our favorite episodes from this year, with you and your loved ones in mind. Think of it as a gift guide, with presents for laughter, healing, inspiration and so much more.\u003c/p>\n\u003ch2>For Healing: “\u003ca href=\"https://www.kqed.org/podcasts/602/it-is-not-in-your-head\" target=\"_blank\" rel=\"noopener noreferrer\">It Is Not In Your Head\u003c/a>” from \u003cem>Truth Be Told\u003c/em>\u003c/h2>\n\u003cp>The difficulties of 2020 forced many of us to look in the mirror with little more honesty. For some, that meant facing the inner work we need to do in order to feel like our best selves. On \u003cem>Truth Be Told\u003c/em>, we tap Wise Ones to answer listener questions. One big question came from a listener who asked for help healing from her trauma: “I’ve always been known as that kid that was clumsy, and I never thought to connect it to my trauma. What practices can I engage in to realign my body with myself?” Author and trauma specialist Resmaa Menakem came through with steps to help her (and all of us) peel back the layers so we can begin to heal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/2-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>Rightnowish\u003c/em>’s “\u003ca href=\"https://www.kqed.org/arts/13879924/felicia-and-karega-are-angel-parents\" target=\"_blank\" rel=\"noopener noreferrer\">‘Angel Parents’ Karega and Felicia Bailey on Grief and Love\u003c/a>.”\u003c/p>\n\u003ch2>For the Movement: “\u003ca href=\"https://podcasts.apple.com/us/podcast/housing-as-reparations/id1531354937?i=1000494426366\" target=\"_blank\" rel=\"noopener noreferrer\">Housing as Reparations\u003c/a>” from \u003cem>Sold Out\u003c/em>\u003c/h2>\n\u003cp>California has been grappling with a housing crisis and structural racism for decades. The pandemic has shown us that the fight for basic needs and civil rights is far from over. This episode of \u003cem>Sold Out\u003c/em> is for all of us who want to contribute to the movement for accountability and making amends. It explores the idea of housing as a form of reparations that gives Black Americans the same opportunity that white Americans have always had in this country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/4-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>The Bay\u003c/em>’s “\u003ca href=\"https://www.kqed.org/vallejopolicing\" target=\"_blank\" rel=\"noopener noreferrer\">The Fight Against Policing in Vallejo\u003c/a>.”\u003c/p>\n\u003ch2>For the Glow Up: “\u003ca href=\"https://www.kqed.org/arts/13887635/yanni-will-eat-you-up-and-make-you-love-yourself\" target=\"_blank\" rel=\"noopener noreferrer\">Yanni Will Eat You Up and Make You Love Yourself\u003c/a>” from \u003cem>Rightnowish\u003c/em>\u003c/h2>\n\u003cp>“I felt so unseen for a majority of my life,” says Yanni Brump. “Always having to fight for who I am, and show people who I am, and explain and educate.” Brump is a non-binary model, party thrower and public speaker spreading the message of “loving up on each other” throughout the Bay Area and online. Brump feels their purpose is to shine a light on as many people as possible, and after this year, we’ll take all the positivity we can get. If you need direction, want to feel good in your body or are on the self-love journey, hit play.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/5-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>The Bay\u003c/em>’s “\u003ca href=\"https://podcasts.apple.com/us/podcast/by-people-young-queer-candidates-color-are-changing/id1350043452?i=1000499903842\" target=\"_blank\" rel=\"noopener noreferrer\">By the People: Young, Queer Candidates of Color are Changing the Bay Area Political Scene\u003c/a>.”\u003c/p>\n\u003ch2>For the Homies: “\u003ca href=\"https://www.kqed.org/podcasts/531/friendship-the-other-love-of-your-life\" target=\"_blank\" rel=\"noopener noreferrer\">Friendship: The Other Love of Your Life\u003c/a>” from \u003cem>Truth Be Told\u003c/em>\u003c/h2>\n\u003cp>While romantic love takes up a lot of people’s headspace, this episode is here to make room for the other love of your life: friends! Our friendships have changed in 2020, but hey, we’ve all adapted in the best ways we can, right? \u003cem>Truth Be Told\u003c/em> turned to authors and besties Aminatou Sow and Ann Friedman for some tips. They talked about their new book on friendship and answered questions about maintaining and nurturing important connections during the pandemic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/3-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>The California Report Magazine\u003c/em>’s “\u003ca href=\"https://www.kqed.org/news/11780176/a-high-school-reunion-for-iranian-americans-40-years-after-the-revolution\" target=\"_blank\" rel=\"noopener noreferrer\">A High School Reunion for Iranian Americans, 40 Years After the Revolution\u003c/a>.”\u003c/p>\n\u003ch2>For Family: “\u003ca href=\"https://www.kqed.org/mindshift/56268/how-learning-emotional-skills-can-help-boys-become-men\">How Learning Emotional Skills Can Help Boys Become Men\u003c/a>” from \u003cem>MindShift\u003c/em>\u003c/h2>\n\u003cp>What does it mean to have a safe place to be yourself? To show emotion and receive support without judgement? Educator Ashanti Branch, a high school math teacher, realized it meant everything to his male students—and then he set out to create just that kind of space. In this episode of \u003cem>MindShift\u003c/em>, learn about the Ever Forward Club, and why it’s essential to have a space where boys can be vulnerable, share their feelings and feel supported by other boys.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/6-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>Rightnowish\u003c/em>’s “\u003ca href=\"https://www.kqed.org/arts/13881954/getting-out-of-the-way-for-your-creative-child\">Getting Out of the Way for Your Creative Child\u003c/a>.”\u003c/p>\n\u003ch2>For Creatives: “\u003ca href=\"https://www.kqed.org/arts/13881805/pulling-poetry-out-of-people\">Pulling Poetry Out of People\u003c/a>” from \u003cem>Rightnowish\u003c/em>\u003c/h2>\n\u003cp>Artists have kept us going during the pandemic. Even as many events moved online, we saw time and again that art will always survive and thrive in our communities. One of our favorites from this year was a Zoom poetry fest featured in the \u003cem>Rightnowish\u003c/em> podcast. Poet Tiffany Banks influences shy artists to share their hidden talents and evolve in their performance, and she invited \u003cem>Rightnowish\u003c/em> host Pendarvis Harshaw to join in on the fun. Listen to this episode of Harshaw grabbing the mic for the first time in years and leave with some inspiration of your own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/7-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>MindShift\u003c/em>’s “\u003ca href=\"https://www.kqed.org/mindshift/56580/how-fan-fiction-inspires-kids-to-read-and-write-and-write-and-write\">How Fan Fiction Inspires Kids to Read and Write and Write and Write\u003c/a>.”\u003c/p>\n\u003ch2>For Foodies: “\u003ca href=\"https://www.kqed.org/news/11819923/bay-area-foodie-culture-goes-way-further-back-than-california-cuisine\">Bay Area Foodie Culture Goes Way Further Back Than California Cuisine\u003c/a>” from \u003cem>Bay Curious\u003c/em>\u003c/h2>\n\u003cp>The year of comfort food is upon us. There have been many foods in the spotlight during this pandemic, such as home-made bread, whipped coffee, fermentation and matcha. Many recipes were born out of necessity, with grocery shelves emptying quickly and our favorite restaurants adapting to stay open. This \u003cem>Bay Curious\u003c/em> episode is a round-up of Bay Area-specific foods, including cocktails, ice cream, San Francisco sourdough and more. \u003cem>¡Buen provecho!\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/8-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5bEt60TfspXuw7jih8AESI\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Another episode we love is \u003cem>Rightnowish\u003c/em>’s “\u003ca href=\"https://www.kqed.org/arts/13886452/victor-got-slapped-for-his-cheesecake\" target=\"_blank\" rel=\"noopener noreferrer\">The East Bay Poet Bringing Cheesecake to Your Door\u003c/a>.”\u003c/p>\n\u003ch2>For History Buffs: “\u003ca href=\"https://www.kqed.org/news/11849740/by-the-people-how-black-activists-transformed-how-oakland-elects-local-leaders\" target=\"_blank\" rel=\"noopener noreferrer\">By the People: How Black Activists Transformed Voting in Oakland\u003c/a>” from \u003cem>The Bay\u003c/em>\u003c/h2>\n\u003cp>\u003cem>The Bay\u003c/em>’s “By the People” series, on how democracy shows up in the places around us, is magnificent. This episode takes us to the 1960s and ’70s in Oakland, when white men and big businesses had control over city hall. The political landscape today is different, and that’s mostly due to changes in how residents can vote. In true Oakland fashion, it began with activists on the streets. Get ready to teleport to the past and get fired up about the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890193\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>Bay Curious\u003c/em>’ “\u003ca href=\"https://www.kqed.org/news/11848986/inside-frida-kahlo-and-diego-riveras-life-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Inside Frida Kahlo and Diego Rivera’s Life in San Francisco\u003c/a>.”\u003c/p>\n\u003ch2>For Politics Nerds: “\u003ca href=\"https://www.kqed.org/news/11849549/dr-anthony-fauci-on-californias-new-covid-restrictions-and-lessons-from-the-hiv-aids-epidemic\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Anthony Fauci on California’s New COVID-19 Restrictions and Lessons from the HIV/AIDS Epidemic\u003c/a>” from \u003cem>Political Breakdown\u003c/em>\u003c/h2>\n\u003cp>First of all, kudos to you for being able to keep up with the news in this pandemic! And if you haven’t, this episode will catch you up on the latest. The \u003cem>Political Breakdown\u003c/em> team has been on it \u003cem>all\u003c/em> year long, and is still bringing us crucial COVID-19 news for the holiday season. Hear leading infectious disease expert Dr. Fauci break down the precautions states like California are taking, mixed messages about public health and the unique challenges the diverse state of California faces.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/10-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>Sold Out\u003c/em>’s “\u003ca href=\"https://www.kqed.org/news/11838323/heres-how-california-is-turning-hotels-into-housing-for-formerly-homeless-people\" target=\"_blank\" rel=\"noopener noreferrer\">Hotel Corona\u003c/a>.”\u003c/p>\n\u003ch2>For Music Lovers: “\u003ca href=\"https://www.kqed.org/news/11848066/connection-history-and-resilience-capturing-the-heart-of-las-boyle-heights-in-song\" target=\"_blank\" rel=\"noopener noreferrer\">‘Connection, History and Resilience’: Capturing the Heart of LA’s Boyle Heights in Song\u003c/a>” from \u003cem>The California Report Magazine\u003c/em>\u003c/h2>\n\u003cp>Local artists creating original songs about their communities and getting paid to do it?! That is music to our ears. \u003cem>The California Report Magazine\u003c/em> covered an amazing research and community engagement project led by the \u003ca href=\"https://actaonline.org/program/sounds-of-california/\" target=\"_blank\" rel=\"noopener noreferrer\">Alliance for California Traditional Arts\u003c/a> called \u003cem>Sounds of California\u003c/em>. The East Los Angeles community of Boyle Heights was included, and the episode features genre-blending, storytelling gloriousness that’s better than any gift money can buy. To listen to the full Boyle Heights Playlist click \u003ca href=\"https://www.youtube.com/watch?v=SiR-sj0pxgI&list=PLRvjwk2C3Qi5i-GUtT9vlkzj7a8VO1ypj\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/11-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>How to send your podcast gifts!\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For all the new podcast listeners out there, we’ve got a little primer on how to subscribe and share podcast episodes. Shows are best listened to on podcast apps, and you’ve got many choices to pick from depending on what kind of phone you have. We recommend \u003ca href=\"https://apps.apple.com/us/app/apple-podcasts/id525463029\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>, \u003ca href=\"https://open.spotify.com/genre/podcasts-page?utm_source=us-en_brand_contextual_text&utm_medium=paidsearch&utm_campaign=alwayson_ucanz_us_premiumbusiness_podcast_brand_core+contextual+text+bmm+us-en+google&gclid=CjwKCAiAq8f-BRBtEiwAGr3DgW14AcrYIHlUqPmnVkQiVTZXytjyarCWSUST2LmfjBQ-WA8RcrGMcxoCtToQAvD_BwE&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify\u003c/a>, \u003ca href=\"https://www.stitcher.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stitcher\u003c/a>, \u003ca href=\"https://apps.apple.com/us/app/google-podcasts/id1398000105\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play\u003c/a> and \u003ca href=\"https://tunein.com/podcasts/\" target=\"_blank\" rel=\"noopener noreferrer\">TuneIn\u003c/a>—check out your phone’s app store to download any of these. Check out instructions for subscribing to and sharing episodes on \u003ca href=\"https://support.apple.com/en-us/HT201859\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a> and \u003ca href=\"https://support.spotify.com/us/article/podcasts/\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"The KQED Podcasts team gives us their favorite episodes from 2020. ","status":"publish","parent":0,"modified":1705019746,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":1448},"headData":{"title":"Podcasts for Inspiration, Self-Care and Social Justice This Holiday Season | KQED","description":"The KQED Podcasts team gives us their favorite episodes from 2020. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Podcasts for Inspiration, Self-Care and Social Justice This Holiday Season","datePublished":"2020-12-11T19:25:03.000Z","dateModified":"2024-01-12T00:35:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","subhead":"Hit play on these socially distant and intimate holiday gifts brought to you by KQED podcasts.","path":"/arts/13890174/podcasts-for-inspiration-self-care-and-social-justice-this-holiday-season","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re all about the gifts that bring us a little closer this holiday season. For a lot of us, podcasts have been a means for socially distanced yet intimate moments with friends, family and strangers. So we’ve put together our favorite episodes from this year, with you and your loved ones in mind. Think of it as a gift guide, with presents for laughter, healing, inspiration and so much more.\u003c/p>\n\u003ch2>For Healing: “\u003ca href=\"https://www.kqed.org/podcasts/602/it-is-not-in-your-head\" target=\"_blank\" rel=\"noopener noreferrer\">It Is Not In Your Head\u003c/a>” from \u003cem>Truth Be Told\u003c/em>\u003c/h2>\n\u003cp>The difficulties of 2020 forced many of us to look in the mirror with little more honesty. For some, that meant facing the inner work we need to do in order to feel like our best selves. On \u003cem>Truth Be Told\u003c/em>, we tap Wise Ones to answer listener questions. One big question came from a listener who asked for help healing from her trauma: “I’ve always been known as that kid that was clumsy, and I never thought to connect it to my trauma. What practices can I engage in to realign my body with myself?” Author and trauma specialist Resmaa Menakem came through with steps to help her (and all of us) peel back the layers so we can begin to heal.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/2-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>Rightnowish\u003c/em>’s “\u003ca href=\"https://www.kqed.org/arts/13879924/felicia-and-karega-are-angel-parents\" target=\"_blank\" rel=\"noopener noreferrer\">‘Angel Parents’ Karega and Felicia Bailey on Grief and Love\u003c/a>.”\u003c/p>\n\u003ch2>For the Movement: “\u003ca href=\"https://podcasts.apple.com/us/podcast/housing-as-reparations/id1531354937?i=1000494426366\" target=\"_blank\" rel=\"noopener noreferrer\">Housing as Reparations\u003c/a>” from \u003cem>Sold Out\u003c/em>\u003c/h2>\n\u003cp>California has been grappling with a housing crisis and structural racism for decades. The pandemic has shown us that the fight for basic needs and civil rights is far from over. This episode of \u003cem>Sold Out\u003c/em> is for all of us who want to contribute to the movement for accountability and making amends. It explores the idea of housing as a form of reparations that gives Black Americans the same opportunity that white Americans have always had in this country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/4-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/4-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>The Bay\u003c/em>’s “\u003ca href=\"https://www.kqed.org/vallejopolicing\" target=\"_blank\" rel=\"noopener noreferrer\">The Fight Against Policing in Vallejo\u003c/a>.”\u003c/p>\n\u003ch2>For the Glow Up: “\u003ca href=\"https://www.kqed.org/arts/13887635/yanni-will-eat-you-up-and-make-you-love-yourself\" target=\"_blank\" rel=\"noopener noreferrer\">Yanni Will Eat You Up and Make You Love Yourself\u003c/a>” from \u003cem>Rightnowish\u003c/em>\u003c/h2>\n\u003cp>“I felt so unseen for a majority of my life,” says Yanni Brump. “Always having to fight for who I am, and show people who I am, and explain and educate.” Brump is a non-binary model, party thrower and public speaker spreading the message of “loving up on each other” throughout the Bay Area and online. Brump feels their purpose is to shine a light on as many people as possible, and after this year, we’ll take all the positivity we can get. If you need direction, want to feel good in your body or are on the self-love journey, hit play.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/5-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/5-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>The Bay\u003c/em>’s “\u003ca href=\"https://podcasts.apple.com/us/podcast/by-people-young-queer-candidates-color-are-changing/id1350043452?i=1000499903842\" target=\"_blank\" rel=\"noopener noreferrer\">By the People: Young, Queer Candidates of Color are Changing the Bay Area Political Scene\u003c/a>.”\u003c/p>\n\u003ch2>For the Homies: “\u003ca href=\"https://www.kqed.org/podcasts/531/friendship-the-other-love-of-your-life\" target=\"_blank\" rel=\"noopener noreferrer\">Friendship: The Other Love of Your Life\u003c/a>” from \u003cem>Truth Be Told\u003c/em>\u003c/h2>\n\u003cp>While romantic love takes up a lot of people’s headspace, this episode is here to make room for the other love of your life: friends! Our friendships have changed in 2020, but hey, we’ve all adapted in the best ways we can, right? \u003cem>Truth Be Told\u003c/em> turned to authors and besties Aminatou Sow and Ann Friedman for some tips. They talked about their new book on friendship and answered questions about maintaining and nurturing important connections during the pandemic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/3-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/3-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>The California Report Magazine\u003c/em>’s “\u003ca href=\"https://www.kqed.org/news/11780176/a-high-school-reunion-for-iranian-americans-40-years-after-the-revolution\" target=\"_blank\" rel=\"noopener noreferrer\">A High School Reunion for Iranian Americans, 40 Years After the Revolution\u003c/a>.”\u003c/p>\n\u003ch2>For Family: “\u003ca href=\"https://www.kqed.org/mindshift/56268/how-learning-emotional-skills-can-help-boys-become-men\">How Learning Emotional Skills Can Help Boys Become Men\u003c/a>” from \u003cem>MindShift\u003c/em>\u003c/h2>\n\u003cp>What does it mean to have a safe place to be yourself? To show emotion and receive support without judgement? Educator Ashanti Branch, a high school math teacher, realized it meant everything to his male students—and then he set out to create just that kind of space. In this episode of \u003cem>MindShift\u003c/em>, learn about the Ever Forward Club, and why it’s essential to have a space where boys can be vulnerable, share their feelings and feel supported by other boys.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/6-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/6-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>Rightnowish\u003c/em>’s “\u003ca href=\"https://www.kqed.org/arts/13881954/getting-out-of-the-way-for-your-creative-child\">Getting Out of the Way for Your Creative Child\u003c/a>.”\u003c/p>\n\u003ch2>For Creatives: “\u003ca href=\"https://www.kqed.org/arts/13881805/pulling-poetry-out-of-people\">Pulling Poetry Out of People\u003c/a>” from \u003cem>Rightnowish\u003c/em>\u003c/h2>\n\u003cp>Artists have kept us going during the pandemic. Even as many events moved online, we saw time and again that art will always survive and thrive in our communities. One of our favorites from this year was a Zoom poetry fest featured in the \u003cem>Rightnowish\u003c/em> podcast. Poet Tiffany Banks influences shy artists to share their hidden talents and evolve in their performance, and she invited \u003cem>Rightnowish\u003c/em> host Pendarvis Harshaw to join in on the fun. Listen to this episode of Harshaw grabbing the mic for the first time in years and leave with some inspiration of your own.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/7-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/7-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>MindShift\u003c/em>’s “\u003ca href=\"https://www.kqed.org/mindshift/56580/how-fan-fiction-inspires-kids-to-read-and-write-and-write-and-write\">How Fan Fiction Inspires Kids to Read and Write and Write and Write\u003c/a>.”\u003c/p>\n\u003ch2>For Foodies: “\u003ca href=\"https://www.kqed.org/news/11819923/bay-area-foodie-culture-goes-way-further-back-than-california-cuisine\">Bay Area Foodie Culture Goes Way Further Back Than California Cuisine\u003c/a>” from \u003cem>Bay Curious\u003c/em>\u003c/h2>\n\u003cp>The year of comfort food is upon us. There have been many foods in the spotlight during this pandemic, such as home-made bread, whipped coffee, fermentation and matcha. Many recipes were born out of necessity, with grocery shelves emptying quickly and our favorite restaurants adapting to stay open. This \u003cem>Bay Curious\u003c/em> episode is a round-up of Bay Area-specific foods, including cocktails, ice cream, San Francisco sourdough and more. \u003cem>¡Buen provecho!\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/8-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/8-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5bEt60TfspXuw7jih8AESI\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Another episode we love is \u003cem>Rightnowish\u003c/em>’s “\u003ca href=\"https://www.kqed.org/arts/13886452/victor-got-slapped-for-his-cheesecake\" target=\"_blank\" rel=\"noopener noreferrer\">The East Bay Poet Bringing Cheesecake to Your Door\u003c/a>.”\u003c/p>\n\u003ch2>For History Buffs: “\u003ca href=\"https://www.kqed.org/news/11849740/by-the-people-how-black-activists-transformed-how-oakland-elects-local-leaders\" target=\"_blank\" rel=\"noopener noreferrer\">By the People: How Black Activists Transformed Voting in Oakland\u003c/a>” from \u003cem>The Bay\u003c/em>\u003c/h2>\n\u003cp>\u003cem>The Bay\u003c/em>’s “By the People” series, on how democracy shows up in the places around us, is magnificent. This episode takes us to the 1960s and ’70s in Oakland, when white men and big businesses had control over city hall. The political landscape today is different, and that’s mostly due to changes in how residents can vote. In true Oakland fashion, it began with activists on the streets. Get ready to teleport to the past and get fired up about the future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890193\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Twitter-2020-pod-round-up-11-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>Bay Curious\u003c/em>’ “\u003ca href=\"https://www.kqed.org/news/11848986/inside-frida-kahlo-and-diego-riveras-life-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Inside Frida Kahlo and Diego Rivera’s Life in San Francisco\u003c/a>.”\u003c/p>\n\u003ch2>For Politics Nerds: “\u003ca href=\"https://www.kqed.org/news/11849549/dr-anthony-fauci-on-californias-new-covid-restrictions-and-lessons-from-the-hiv-aids-epidemic\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Anthony Fauci on California’s New COVID-19 Restrictions and Lessons from the HIV/AIDS Epidemic\u003c/a>” from \u003cem>Political Breakdown\u003c/em>\u003c/h2>\n\u003cp>First of all, kudos to you for being able to keep up with the news in this pandemic! And if you haven’t, this episode will catch you up on the latest. The \u003cem>Political Breakdown\u003c/em> team has been on it \u003cem>all\u003c/em> year long, and is still bringing us crucial COVID-19 news for the holiday season. Hear leading infectious disease expert Dr. Fauci break down the precautions states like California are taking, mixed messages about public health and the unique challenges the diverse state of California faces.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/10-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/10-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another episode we love is \u003cem>Sold Out\u003c/em>’s “\u003ca href=\"https://www.kqed.org/news/11838323/heres-how-california-is-turning-hotels-into-housing-for-formerly-homeless-people\" target=\"_blank\" rel=\"noopener noreferrer\">Hotel Corona\u003c/a>.”\u003c/p>\n\u003ch2>For Music Lovers: “\u003ca href=\"https://www.kqed.org/news/11848066/connection-history-and-resilience-capturing-the-heart-of-las-boyle-heights-in-song\" target=\"_blank\" rel=\"noopener noreferrer\">‘Connection, History and Resilience’: Capturing the Heart of LA’s Boyle Heights in Song\u003c/a>” from \u003cem>The California Report Magazine\u003c/em>\u003c/h2>\n\u003cp>Local artists creating original songs about their communities and getting paid to do it?! That is music to our ears. \u003cem>The California Report Magazine\u003c/em> covered an amazing research and community engagement project led by the \u003ca href=\"https://actaonline.org/program/sounds-of-california/\" target=\"_blank\" rel=\"noopener noreferrer\">Alliance for California Traditional Arts\u003c/a> called \u003cem>Sounds of California\u003c/em>. The East Los Angeles community of Boyle Heights was included, and the episode features genre-blending, storytelling gloriousness that’s better than any gift money can buy. To listen to the full Boyle Heights Playlist click \u003ca href=\"https://www.youtube.com/watch?v=SiR-sj0pxgI&list=PLRvjwk2C3Qi5i-GUtT9vlkzj7a8VO1ypj\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-13890179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/11-800x450.png\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/11-1920x1080.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>How to send your podcast gifts!\u003c/h2>\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>For all the new podcast listeners out there, we’ve got a little primer on how to subscribe and share podcast episodes. Shows are best listened to on podcast apps, and you’ve got many choices to pick from depending on what kind of phone you have. We recommend \u003ca href=\"https://apps.apple.com/us/app/apple-podcasts/id525463029\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>, \u003ca href=\"https://open.spotify.com/genre/podcasts-page?utm_source=us-en_brand_contextual_text&utm_medium=paidsearch&utm_campaign=alwayson_ucanz_us_premiumbusiness_podcast_brand_core+contextual+text+bmm+us-en+google&gclid=CjwKCAiAq8f-BRBtEiwAGr3DgW14AcrYIHlUqPmnVkQiVTZXytjyarCWSUST2LmfjBQ-WA8RcrGMcxoCtToQAvD_BwE&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify\u003c/a>, \u003ca href=\"https://www.stitcher.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stitcher\u003c/a>, \u003ca href=\"https://apps.apple.com/us/app/google-podcasts/id1398000105\" target=\"_blank\" rel=\"noopener noreferrer\">Google Play\u003c/a> and \u003ca href=\"https://tunein.com/podcasts/\" target=\"_blank\" rel=\"noopener noreferrer\">TuneIn\u003c/a>—check out your phone’s app store to download any of these. Check out instructions for subscribing to and sharing episodes on \u003ca href=\"https://support.apple.com/en-us/HT201859\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a> and \u003ca href=\"https://support.spotify.com/us/article/podcasts/\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890174/podcasts-for-inspiration-self-care-and-social-justice-this-holiday-season","authors":["11673","11637"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_12958","arts_10278","arts_3837"],"featImg":"arts_13890306","label":"source_arts_13890174"},"arts_13890197":{"type":"posts","id":"arts_13890197","meta":{"index":"posts_1591205157","site":"arts","id":"13890197","score":null,"sort":[1607710549000]},"guestAuthors":[],"slug":"kqed-readers-share-what-got-you-through-this-year","title":"KQED Readers Share: What Got You Through 2020?","publishDate":1607710549,"format":"standard","headTitle":"KQED Readers Share: What Got You Through 2020? | KQED","labelTerm":{},"content":"\u003cp>Living through the year 2020 tested us. It tried our patience and nerves. It challenged us to find new ways to communicate and socialize. It upended our priorities, pushed our resolve and—let’s be real—stressed us the eff out, daily.\u003c/p>\n\u003cp>So when we asked you, our readers, what helped you get through it all, we were surprised by the outpouring of optimism, creativity and expressions of gratitude we received.\u003c/p>\n\u003cp>Here are just some of the things that got you through this endurance test of a year.\u003c/p>\n\u003ch2>Virtual Community\u003c/h2>\n\u003cfigure id=\"attachment_13890230\" class=\"wp-caption aligncenter\" style=\"max-width: 764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png\" alt=\"Some of the magical animals of ‘In Shelter Zoo'—a project and website created by Michelle L. Morby this year, to battle the isolation of shelter in place.\" width=\"764\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM-160x102.png 160w\" sizes=\"(max-width: 764px) 100vw, 764px\">\u003cfigcaption class=\"wp-caption-text\">Some of the magical animals of ‘In Shelter Zoo’—a project and website created by Michelle L. Morby this year to battle the isolation of shelter in place. \u003ccite>(InShelterZoo.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I created a global interactive project called \u003ca href=\"https://www.inshelterzoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Shelter Zoo\u003c/em>\u003c/a> to combat isolation. All one had to do was make an animal mask out of whatever you had on hand, take a selfie and send it, and I would add it to my conceptual art zoo.” —\u003cem>Michelle L. Morby, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Sending postcards to strangers around the world.” —\u003cem>Julian Roque, Hayward\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Learning Zumba taught by a Canadian-born feminist anthropologist who is a professor at Amherst College. The classes are attended by feminist academics and artists from around the world. It’s life-affirming and shame-free with fab playlists!” —\u003cem>Jennifer Terry, Sea Ranch\u003c/em>\u003c/p>\n\u003cp>“Virtual wine tastings.” —\u003cem>Janine P., San Francisco\u003c/em>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.instagram.com/defectedrecords/\" target=\"_blank\" rel=\"noopener noreferrer\">Defected Records\u003c/a>‘ virtual dance festivals 100% have given me joy, hope, strength, community, presence, and serenity.” —\u003cem>Ruanna Rae, Bay Area\u003c/em>\u003c/p>\n\u003ch2>The Great Outdoors\u003c/h2>\n\u003cfigure id=\"attachment_13890280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg\" alt=\"Jan Richardson's dog\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiking the hills with a dog: what could be better? \u003ccite>(Jan Richardson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Faith that the next day would get better. The comfort of my dog and hiking the beautiful hills of the Bay Area.” —\u003cem>Jan Richardson, Danville\u003c/em>\u003c/p>\n\u003cp>“To combat pandemic-related anger, I’ve been taking evening dips in the bay from East Beach at Crissy Field. In up to my chest just a few yards offshore, within a few minutes I feel rejuvenated by the literal shift in perspective and cold shock.” —\u003cem>Britta Shoot, San Francisco\u003c/em>\u003c/p>\n\u003cp>“I have ongoing, non-COVID health problems that keep me close to home. So my photography hobby has been a key ingredient in keeping things together. That and our backyard, with its birds and flowers. I’ve documented the backyard thoroughly!” —\u003cem>David Evan Hughes, Lincoln\u003c/em>\u003c/p>\n\u003cp>“Rowing in the San Francisco bay.” —\u003cem>Demian Quesnel, San Francisco\u003c/em>\u003c/p>\n\u003cp>“My bike, my engineer, my financial guy, my lawyer, and my priest. We ride bikes together. Sometimes 22 miles, sometimes 52 miles, even 102.” —\u003cem>Peter Wise, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Since gyms got shut down, I started doing ’80s aerobics interspersed with weight and dance routines on our deck overlooking Linda Mar Beach. With headphones, no one can hear my music, but they can see me getting down!” —\u003cem>Nancy Capone Beeman, Pacifica\u003c/em>\u003c/p>\n\u003ch2>Artistic Expression\u003c/h2>\n\u003cfigure id=\"attachment_13890252\" class=\"wp-caption aligncenter\" style=\"max-width: 662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png\" alt=\"A selection of work from Meredith Steele's 100 paintings of Oakland.\" width=\"662\" height=\"659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png 662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM-160x159.png 160w\" sizes=\"(max-width: 662px) 100vw, 662px\">\u003cfigcaption class=\"wp-caption-text\">A selection of work from Meredith Steele’s 100 paintings of Oakland. \u003ccite>(Instagram/@meredith_steele_)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Taking on a project of painting \u003ca href=\"http://www.meredithsteele.com/oaklandpaintings\" target=\"_blank\" rel=\"noopener noreferrer\">100 paintings of Oakland\u003c/a>. It kept me focused!” —\u003cem>Meredith Steele, Oakland\u003c/em>\u003c/p>\n\u003cp>“Making art, even when it hurt.” —\u003cem>Katy Kuhn, Mill Valley\u003c/em>\u003c/p>\n\u003cp>“Stuck in lockdown, bored to tears, I decided to dress up my front yard. The circle drive is bordered by two short grape-stake fences. So I pulled out my paint pots and got to work. I painted each fence to look like a row of colored pencils.” —\u003cem>Judith Morley, Menlo Park\u003c/em>\u003c/p>\n\u003cp>“My mate and I learned a modern take on an very old art form: beading. I suggested it to her as a more zenful way to unwind from her stressful job. She was sold after seeing the modern works of people like Jan Huling, Betsy Youngquist and Nancy Joseph.” —\u003cem>Ann Morgan, Oakland\u003c/em>\u003c/p>\n\u003cp>“I set out to photograph every mural on a boarded up business that I could. Inspired me, gave me hope, cleared my head and helped keep me grounded and sane. \u003ca href=\"https://www.instagram.com/plywoodmurals/\" target=\"_blank\" rel=\"noopener noreferrer\">Check them out\u003c/a>!” —\u003cem>Hildur Carlen, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Walking the streets of Oakland with my young son, taking in all the urban visual information, which led to five new artwork series. So far I’ve posted 45 of these works on paper on \u003ca href=\"https://ivettevallejo.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">my website\u003c/a>.” —\u003cem>Ivette, Vallejo\u003c/em>\u003c/p>\n\u003ch2>Musical Exploration\u003c/h2>\n\u003cfigure id=\"attachment_13890281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg\" alt=\"Matthew Levitt's record collection\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When in doubt, buy more records. 😉 \u003ccite>(Matthew Levitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found a lot of comfort listening to my records. I bought some irresponsibly expensive headphones and practically doubled my record collection. I listen to a few albums almost every day.” —\u003cem>Matthew Levitt, Alameda\u003c/em>\u003c/p>\n\u003cp>“Listening to the radio! You can be part of a community, while in your home or car.” —\u003cem>Barrett Jayne, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“Learning how to play drums and starting a punk band.” —\u003cem>Meerenai Shim, Campbell\u003c/em>\u003c/p>\n\u003cp>“I started a new label with my best friend of 15 years and put out an album in April. I worked on three albums and one is coming out in January. I discovered I have Aspergers, smashed petty beefs, and worked on my house.” —\u003cem>Muslim Delgado, Oakland\u003c/em>\u003c/p>\n\u003cp>“I have survived this year by listening to a lot of calming music, taking daily brisk walks where there aren’t a lot of people, following the science around COVID, helping my candidates get elected, and texting a lot with friends and family.” —\u003cem>Carol Akawie Schneider, Oakland\u003c/em>\u003c/p>\n\u003ch2>Family Time\u003c/h2>\n\u003cfigure id=\"attachment_13890282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/kittens-800x600.jpeg\" alt=\"Kittens fresh from the good people at the Sonoma County Humane Society.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kittens fresh from the good people at the Sonoma County Humane Society. \u003ccite>(Meghan West)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Kittens! After miniaturizing our April wedding, then moving, my husband and I got two kittens from the local Humane Society. They are such a delight and make us smile so many times each day.” —\u003cem>Meghan West, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“The most important thing that got me through 2020 was being in a bubble with my daughter, her partner and my three grandkids. Seeing them almost every day and sharing our ‘buds and thorns’ about our day kept me sane.” —\u003cem>Aggie Briscoe, Oakland\u003c/em>\u003c/p>\n\u003cp>“I recorded E.B. White books for my grandson. With the uncertainty of each day, it was sweet to enter White’s gentle world of curious and collaborating animals, and share it with a special child.” —\u003cem>Susan Giacomini Allan, Inverness\u003c/em>\u003c/p>\n\u003cp>“Daily walks with my dogs, and my husband’s cooking.” —\u003cem>Barbara Thomson, Nicasio\u003c/em>\u003c/p>\n\u003cp>“My neighbors and my daughter in SF. They did my grocery shopping and errands to keep my exposure (at age 90) to COVID-19 to a minimum. Good folks!” —\u003cem>Alison C. Fuller, San Rafael\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“What got me through 2020 so far is our grandson who lives in London and was only four months old when COVID got worse. Our daughter continuously sent us photos, videos and we Facetimed at least 4-5 times a week. Watching him grow kept us going.” —\u003cem>Neelima Pandit, Santa Rosa\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"We asked how you got yourselves through this turbulent year—and the answers are inspiring.","status":"publish","parent":0,"modified":1705019748,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1203},"headData":{"title":"KQED Readers Share: What Got You Through 2020? | KQED","description":"We asked how you got yourselves through this turbulent year—and the answers are inspiring.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"KQED Readers Share: What Got You Through 2020?","datePublished":"2020-12-11T18:15:49.000Z","dateModified":"2024-01-12T00:35:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2020 In Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13890197/kqed-readers-share-what-got-you-through-this-year","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Living through the year 2020 tested us. It tried our patience and nerves. It challenged us to find new ways to communicate and socialize. It upended our priorities, pushed our resolve and—let’s be real—stressed us the eff out, daily.\u003c/p>\n\u003cp>So when we asked you, our readers, what helped you get through it all, we were surprised by the outpouring of optimism, creativity and expressions of gratitude we received.\u003c/p>\n\u003cp>Here are just some of the things that got you through this endurance test of a year.\u003c/p>\n\u003ch2>Virtual Community\u003c/h2>\n\u003cfigure id=\"attachment_13890230\" class=\"wp-caption aligncenter\" style=\"max-width: 764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png\" alt=\"Some of the magical animals of ‘In Shelter Zoo'—a project and website created by Michelle L. Morby this year, to battle the isolation of shelter in place.\" width=\"764\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM-160x102.png 160w\" sizes=\"(max-width: 764px) 100vw, 764px\">\u003cfigcaption class=\"wp-caption-text\">Some of the magical animals of ‘In Shelter Zoo’—a project and website created by Michelle L. Morby this year to battle the isolation of shelter in place. \u003ccite>(InShelterZoo.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I created a global interactive project called \u003ca href=\"https://www.inshelterzoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Shelter Zoo\u003c/em>\u003c/a> to combat isolation. All one had to do was make an animal mask out of whatever you had on hand, take a selfie and send it, and I would add it to my conceptual art zoo.” —\u003cem>Michelle L. Morby, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Sending postcards to strangers around the world.” —\u003cem>Julian Roque, Hayward\u003c/em>\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>“Learning Zumba taught by a Canadian-born feminist anthropologist who is a professor at Amherst College. The classes are attended by feminist academics and artists from around the world. It’s life-affirming and shame-free with fab playlists!” —\u003cem>Jennifer Terry, Sea Ranch\u003c/em>\u003c/p>\n\u003cp>“Virtual wine tastings.” —\u003cem>Janine P., San Francisco\u003c/em>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.instagram.com/defectedrecords/\" target=\"_blank\" rel=\"noopener noreferrer\">Defected Records\u003c/a>‘ virtual dance festivals 100% have given me joy, hope, strength, community, presence, and serenity.” —\u003cem>Ruanna Rae, Bay Area\u003c/em>\u003c/p>\n\u003ch2>The Great Outdoors\u003c/h2>\n\u003cfigure id=\"attachment_13890280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg\" alt=\"Jan Richardson's dog\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiking the hills with a dog: what could be better? \u003ccite>(Jan Richardson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Faith that the next day would get better. The comfort of my dog and hiking the beautiful hills of the Bay Area.” —\u003cem>Jan Richardson, Danville\u003c/em>\u003c/p>\n\u003cp>“To combat pandemic-related anger, I’ve been taking evening dips in the bay from East Beach at Crissy Field. In up to my chest just a few yards offshore, within a few minutes I feel rejuvenated by the literal shift in perspective and cold shock.” —\u003cem>Britta Shoot, San Francisco\u003c/em>\u003c/p>\n\u003cp>“I have ongoing, non-COVID health problems that keep me close to home. So my photography hobby has been a key ingredient in keeping things together. That and our backyard, with its birds and flowers. I’ve documented the backyard thoroughly!” —\u003cem>David Evan Hughes, Lincoln\u003c/em>\u003c/p>\n\u003cp>“Rowing in the San Francisco bay.” —\u003cem>Demian Quesnel, San Francisco\u003c/em>\u003c/p>\n\u003cp>“My bike, my engineer, my financial guy, my lawyer, and my priest. We ride bikes together. Sometimes 22 miles, sometimes 52 miles, even 102.” —\u003cem>Peter Wise, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Since gyms got shut down, I started doing ’80s aerobics interspersed with weight and dance routines on our deck overlooking Linda Mar Beach. With headphones, no one can hear my music, but they can see me getting down!” —\u003cem>Nancy Capone Beeman, Pacifica\u003c/em>\u003c/p>\n\u003ch2>Artistic Expression\u003c/h2>\n\u003cfigure id=\"attachment_13890252\" class=\"wp-caption aligncenter\" style=\"max-width: 662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png\" alt=\"A selection of work from Meredith Steele's 100 paintings of Oakland.\" width=\"662\" height=\"659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png 662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM-160x159.png 160w\" sizes=\"(max-width: 662px) 100vw, 662px\">\u003cfigcaption class=\"wp-caption-text\">A selection of work from Meredith Steele’s 100 paintings of Oakland. \u003ccite>(Instagram/@meredith_steele_)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Taking on a project of painting \u003ca href=\"http://www.meredithsteele.com/oaklandpaintings\" target=\"_blank\" rel=\"noopener noreferrer\">100 paintings of Oakland\u003c/a>. It kept me focused!” —\u003cem>Meredith Steele, Oakland\u003c/em>\u003c/p>\n\u003cp>“Making art, even when it hurt.” —\u003cem>Katy Kuhn, Mill Valley\u003c/em>\u003c/p>\n\u003cp>“Stuck in lockdown, bored to tears, I decided to dress up my front yard. The circle drive is bordered by two short grape-stake fences. So I pulled out my paint pots and got to work. I painted each fence to look like a row of colored pencils.” —\u003cem>Judith Morley, Menlo Park\u003c/em>\u003c/p>\n\u003cp>“My mate and I learned a modern take on an very old art form: beading. I suggested it to her as a more zenful way to unwind from her stressful job. She was sold after seeing the modern works of people like Jan Huling, Betsy Youngquist and Nancy Joseph.” —\u003cem>Ann Morgan, Oakland\u003c/em>\u003c/p>\n\u003cp>“I set out to photograph every mural on a boarded up business that I could. Inspired me, gave me hope, cleared my head and helped keep me grounded and sane. \u003ca href=\"https://www.instagram.com/plywoodmurals/\" target=\"_blank\" rel=\"noopener noreferrer\">Check them out\u003c/a>!” —\u003cem>Hildur Carlen, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Walking the streets of Oakland with my young son, taking in all the urban visual information, which led to five new artwork series. So far I’ve posted 45 of these works on paper on \u003ca href=\"https://ivettevallejo.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">my website\u003c/a>.” —\u003cem>Ivette, Vallejo\u003c/em>\u003c/p>\n\u003ch2>Musical Exploration\u003c/h2>\n\u003cfigure id=\"attachment_13890281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg\" alt=\"Matthew Levitt's record collection\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When in doubt, buy more records. 😉 \u003ccite>(Matthew Levitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found a lot of comfort listening to my records. I bought some irresponsibly expensive headphones and practically doubled my record collection. I listen to a few albums almost every day.” —\u003cem>Matthew Levitt, Alameda\u003c/em>\u003c/p>\n\u003cp>“Listening to the radio! You can be part of a community, while in your home or car.” —\u003cem>Barrett Jayne, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“Learning how to play drums and starting a punk band.” —\u003cem>Meerenai Shim, Campbell\u003c/em>\u003c/p>\n\u003cp>“I started a new label with my best friend of 15 years and put out an album in April. I worked on three albums and one is coming out in January. I discovered I have Aspergers, smashed petty beefs, and worked on my house.” —\u003cem>Muslim Delgado, Oakland\u003c/em>\u003c/p>\n\u003cp>“I have survived this year by listening to a lot of calming music, taking daily brisk walks where there aren’t a lot of people, following the science around COVID, helping my candidates get elected, and texting a lot with friends and family.” —\u003cem>Carol Akawie Schneider, Oakland\u003c/em>\u003c/p>\n\u003ch2>Family Time\u003c/h2>\n\u003cfigure id=\"attachment_13890282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/kittens-800x600.jpeg\" alt=\"Kittens fresh from the good people at the Sonoma County Humane Society.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kittens fresh from the good people at the Sonoma County Humane Society. \u003ccite>(Meghan West)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Kittens! After miniaturizing our April wedding, then moving, my husband and I got two kittens from the local Humane Society. They are such a delight and make us smile so many times each day.” —\u003cem>Meghan West, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“The most important thing that got me through 2020 was being in a bubble with my daughter, her partner and my three grandkids. Seeing them almost every day and sharing our ‘buds and thorns’ about our day kept me sane.” —\u003cem>Aggie Briscoe, Oakland\u003c/em>\u003c/p>\n\u003cp>“I recorded E.B. White books for my grandson. With the uncertainty of each day, it was sweet to enter White’s gentle world of curious and collaborating animals, and share it with a special child.” —\u003cem>Susan Giacomini Allan, Inverness\u003c/em>\u003c/p>\n\u003cp>“Daily walks with my dogs, and my husband’s cooking.” —\u003cem>Barbara Thomson, Nicasio\u003c/em>\u003c/p>\n\u003cp>“My neighbors and my daughter in SF. They did my grocery shopping and errands to keep my exposure (at age 90) to COVID-19 to a minimum. Good folks!” —\u003cem>Alison C. Fuller, San Rafael\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What got me through 2020 so far is our grandson who lives in London and was only four months old when COVID got worse. Our daughter continuously sent us photos, videos and we Facetimed at least 4-5 times a week. Watching him grow kept us going.” —\u003cem>Neelima Pandit, Santa Rosa\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890197/kqed-readers-share-what-got-you-through-this-year","authors":["11242"],"categories":["arts_1","arts_11615","arts_235"],"tags":["arts_9535","arts_12958","arts_10126","arts_10127","arts_10342","arts_10278","arts_2832","arts_9581","arts_10416","arts_585"],"featImg":"arts_13890198","label":"source_arts_13890197"},"arts_13890093":{"type":"posts","id":"arts_13890093","meta":{"index":"posts_1591205157","site":"arts","id":"13890093","score":null,"sort":[1607643940000]},"guestAuthors":[],"slug":"2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help","title":"2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help","publishDate":1607643940,"format":"standard","headTitle":"2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>[pullquote size='large']Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.[/pullquote]\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. [aside postid='arts_13890048']\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n","blocks":[],"excerpt":"Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ","status":"publish","parent":0,"modified":1705019753,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":41,"wordCount":2883},"headData":{"title":"2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED","description":"Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help","datePublished":"2020-12-10T23:45:40.000Z","dateModified":"2024-01-12T00:35:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\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>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.","name":"pullquote","attributes":{"named":{"size":"large","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890048","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_12958","arts_6192","arts_10126","arts_10127","arts_10342","arts_10278","arts_10422","arts_6387","arts_11031","arts_2093"],"featImg":"arts_13852059","label":"source_arts_13890093"},"arts_13890048":{"type":"posts","id":"arts_13890048","meta":{"index":"posts_1591205157","site":"arts","id":"13890048","score":null,"sort":[1607456010000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2020","title":"The 10 Best Bay Area Albums of 2020","publishDate":1607456010,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2020 | KQED","labelTerm":{},"content":"\u003cp>2020 threw the music industry for a loop. So many listeners said they had a hard time keeping up with new releases. Instead, old favorites became their emotional-support companions as they navigated a completely new reality. The artists themselves also had to make difficult adjustments: many asked themselves whether it was worth it to drop projects they recorded in the before-times. Were songs about pre-pandemic life still relevant? Did fans want music that reflected what was going on in the world or an escape?\u003c/p>\n\u003cp>As the year progressed, the answer proved to be a combination of both. Some of our favorite music gave us catharsis, some reflected our pain and some offered a joyful vision of what’s possible.\u003c/p>\n\u003cp>Below, KQED Arts & Culture contributors give us their top Bay Area albums of the year. Whether you’re into rap, indie rock, classical, jazz, folk or pop, there’s something for you on this list.\u003c/p>\n\u003cp>And, it’s worth noting, independent artists are cut off from touring and need our financial support now more than ever. So if you like what you hear, consider buying it on Bandcamp or iTunes. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"https://thaoandthegetdownstaydown.bandcamp.com/album/temple\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Thao & The Get Down Stay Down, \u003cem>Temple\u003c/em> (Ribbon Music)\u003c/h2>\n\u003cp>We children of immigrants carry the weight of our parents’ struggles on our shoulders; they sacrificed so much, so we feel the pressure to repay them by achieving the American dream. \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> flips the narrative with her piercing howl on the title track of \u003cem>Temple\u003c/em>, where she writes from the perspective of her mother, who fled Vietnam as a war refugee. With lyrics like “I lost my city in the light of day / Thick smoke and helicopter blades,” the punchy dance-rock track creates images of destruction, loss, survival and hope so visceral, they send chills. It’s a theme especially resonant during a year filled with a different kind of grief, where many of us have had to say goodbye to loved ones and old ways of life. \u003cem>Temple\u003c/em>’s hard, driving rhythms and fuzzed-out guitars give voice to necessary conversations about immigration, queerness and the quest to live fully in one’s power. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/murder-weapon/1498266889\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>The Jacka, \u003cem>Murder Weapon\u003c/em> (The Artist Records/EMPIRE)\u003c/h2>\n\u003cp>After Dominick “The Jacka” Newton was killed in 2015, his manager PK pieced together old recordings for his posthumous album, \u003ca href=\"https://music.apple.com/us/album/murder-weapon/1498266889\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Murder Weapon\u003c/em>\u003c/a>. Although \u003cem>Murder Weapon\u003c/em> was recorded over the span of a few years, it still sounds current. It might help that it features well-known lyricists Styles P, Curren$y and Grammy nominee Freddie Gibbs, as well as The Jacka’s long-time collaborators Husalah, Rydah J. Klyde and producer RobLo.\u003c/p>\n\u003cp>The album is full of heavy bass lines and the gangsta-lifestyle lyrics you’d expect from The Jacka. There are references to drug consumption and distribution on “They Know What This Is” (featuring Paul Wall and Boo Banga) and evidence of extraterrestrial life on “Ancient Astronaut” (featuring Killah Priest). “We Outside,” a standout track with a catchy hook sung by what sounds like a chorus of children, is a bit ironic for 2020—but keep in mind it was released before shelter-in-place orders came down. When the Pittsburg-based MC drops the biographical bar, “Love me cause I’m gangsta, but I’m really trying to teach Islam,” I was reminded of my appreciation for an artist who so passionately balanced his human flaws and religious beliefs. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Discos Resaca Collective and Mariposas Del Alma, \u003cem>Y Te Cuento\u003c/em> (self-released)\u003c/h2>\n\u003cp>The first full-length album from cumbia collective \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Discos Resaca\u003c/a> is a masterclass in what makes the Bay Area yell, “Wepa!” \u003cem>Y Te Cuento\u003c/em> (\u003cem>And I’ll Tell You\u003c/em>) melds traditional cumbias from Central and South America with hip-hop and oldies to create a sound that’s powerful in its imagery and danceability. Hometown party anthems like “Cumbia de San Jose” tell the story of the local South Bay scene, while “Chupacabra” and “Se Va El Agua” employ the evocative storytelling traditions of cumbia.\u003c/p>\n\u003cp>Resaca cool things down on the album’s title track, a pensive tribute to lost loved ones, and on the DJ favorite “I Love You For All Seasons,” a mid-tempo cumbia sung by three Oakland sisters known as \u003ca href=\"https://mariposasdelalma.bandcamp.com/album/la-morena-sonidera-la-oaklandesa\" target=\"_blank\" rel=\"noopener noreferrer\">Mariposas Del Alma\u003c/a>. The collective features accordion master Ivan Flores, percussionist Wilson Posada, conguero Pedro Rosales, producer Xian Ballesteros and guitarists Fabian Martinez and Erik Molina, in collaboration with rapper Deuce Eclipse and Philthy Dronez. \u003cem>—Jessica Lipsky\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1015931905/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>James Wavey, \u003cem>Babe\u003c/em> (self-released)\u003c/h2>\n\u003cp>The 2020 release \u003cem>Babe\u003c/em> from Oakland-based rapper and producer \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a>, a.k.a. Alleyes Manifest, takes the listener on a smooth, sonic journey through blurred genre barriers, like a vintage mixtape that flows in fun and unpredictable ways. The project calls to mind snippets of lowrider oldies, Stax Records classics from RZA’s \u003cem>Shaolin Soul Selection\u003c/em>, nu-jazz and hip-hop. Wavey suavely layers his verses over warm samples warped with reverb and delay. The result is a catchy and soulful album presented in 10 short but flavorful tracks that are perfect for solo kitchen dance parties. \u003cem>—Masha Pershay\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=676995628/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kronos Quartet, \u003cem>Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger\u003c/em> (Smithsonian Folkways Recordings)\u003c/h2>\n\u003cp>At a time when this country seems to be closing in on itself, the \u003ca href=\"https://kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>’s careening exploration of the music and ideas of great American folk bard Pete Seeger opens up possibilities. The ever-peripatetic San Francisco string quartet has a knack for collaborating with some of the world’s most interesting musicians. \u003cem>Long Time Passing\u003c/em> enables us to listen to even the most picked-over songs from the Seeger cannon—“If I Had a Hammer,” “We Shall Overcome”—in a way that feels both edgy and comforting.\u003c/p>\n\u003cp>The album approaches transcendence not with these lovely covers of Seeger’s songs, but rather with a pair of contemporary, original tracks inspired by Seeger’s life. San Francisco born-and-raised composer Jacob Garchik’s spiraling “Storyteller” weaves snippets of Seeger’s singing and speaking voice, riffing on subjects as varied as his work with ethnomusicologist Alan Lomax and Marlene Dietrich’s German-language take on “Where Have All the Flowers Gone?” (“Sag’ mir, wo die Blumen sind”). And the version of folksinger Zoe Mulford’s “The President Sang Amazing Grace,” which singer Meklit performs with quiet intensity above long, spartan string chords, recalls what it means to be human in the face of disaster. \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/let-me-go/1531051491\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shy’An G, \u003cem>Let Me Go\u003c/em> (STP)\u003c/h2>\n\u003cp>If you prefer a more lyrical flavor of hip-hop, look no further than \u003ca href=\"https://music.apple.com/us/album/let-me-go/1531051491\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’An G\u003c/a>, a Berkeley rapper and producer whose \u003cem>Let Me Go\u003c/em> positions her as a multifaceted artist to watch. In an era where a “scam or be scammed” philosophy seems to touch all aspects of American culture, Shy’An G raps with a refreshing sincerity about trying to forge an honest path in a broken world. On the project, her rhymes move freely between motivation, social critique and clever witticisms. Thoughtful gems like “Who gets offended by generosity? / Hard work, patience, agility” from the somber, piano-driven “Remember This Day” sit comfortably beside the bass-heavy rambunctiousness of “Don’t Lose Focus” (a standout line: “My grandma in her 80s and she still rock stilettos”). Fans of Rapsody, Noname and Anderson .Paak should add Shy’An G to their collections. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=277021995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dougie Stu, \u003cem>Familiar Future\u003c/em> (Ropeadope)\u003c/h2>\n\u003cp>It takes a certain degree of humility to do whatever is necessary to elevate an ensemble’s sound for years before finally taking the helm of your own project. \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Stuart\u003c/a> has been that humble sideman, a vital bass and keyboard player on some of the Bay Area’s best and most eclectic acts: Bells Atlas, Meernaa, Brijean and astronauts, etc. On \u003cem>Familiar Future\u003c/em>, his debut as Dougie Stu, we see the crowning moment the multi-instrumentalist and composer has been working towards.\u003c/p>\n\u003cp>A cool and collected free jazz exploration with Stuart as bandleader, \u003cem>Familiar Future\u003c/em> calls upon a diverse cast of stellar musicians to enact his vision. “Henny” feels deftly inspired by Bob James’s iconic “Nautilus,” with Stuart’s far-out bass dancing alongside Jeff Parker’s guitar, Hamir Atwal’s jazzy drums, Rob Shelton’s hazy Korg synth and the violin/cello combo of Shaina Evoniuk and Crystal Pascucci. “BB’s Birthday” shines as Stuart’s finest arrangement, with Marcus Stephans’ flute and Brijean Murphy’s congas taking us into space. As its title suggests, \u003cem>Familiar Future\u003c/em> is an album about knowing where the road goes but biding your time to strike at the right moment. Stuart and his players have found it. \u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/enlighten-the-night/1518607463\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mahsa Vahdat, \u003cem>Enlighten the Night\u003c/em> (Six Degrees Records)\u003c/h2>\n\u003cp>Unable to pursue her career in Iran, where women vocalists are largely banned from performing solo in public, Mahsa Vahdat has found a place to thrive in the Bay Area. Last year she and her sister, vocalist Marjan Vahdat, collaborated with Kronos Quartet on a gorgeous album exploring themes of displacement and exile, \u003cem>Placeless\u003c/em>. Living in Berkeley with her husband, multi-instrumentalist and arranger Atabak Elyasi, she crafted a breathtaking collection of new songs on \u003cem>Enlighten the Night\u003c/em>. While working mostly within classical Persian modes, she weaves a numinous musical mélange with the Norwegian jazz trio of pianist Tord Gustavsen, bassist Gjermund Silset and drummer Kenneth Ekornes. Her compositions illuminate the work of beloved Persian poets like Rumi, Hafez and Omar Khayyam while also drawing on essential 20th-century Iranian writers like Nimā Yushij and Mohammad Ebrahim Jafari, the great poet and painter who provides the words for the quietly ecstatic opening piece “The Act of Freedom.” \u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>The Seshen, \u003cem>CYAN\u003c/em> (Tru Thoughts)\u003c/h2>\n\u003cp>It feels like an eternity ago when \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> debuted the \u003ca href=\"https://youtu.be/lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> to accompany the release of their third LP, \u003cem>CYAN\u003c/em>, at San Francisco’s Rickshaw Stop in late February. Lead singer Lalin St. Juste appeared equal parts raw, hopeful, emotive and mystical in the film. She seemed both at peace and nearly coming apart at the seams at the foot of the ocean’s crashing waves. \u003cem>CYAN\u003c/em> explores the many dimensions of depression, and today it feels prescient considering St. Juste is not alone in taking a long hard look at ourselves and what the heck is happening around us. The album jostles us gently on the synth pop swing of “Close Your Eyes,” and comforts us with the sea foam-like rhythm of “Faster Than Before” and hypnotic depths of “Still Dreaming.” Producer Akiyoshi Ehara sets up canvases for us to splash into like gooey oil paints as we navigate through St. Juste’s elegant neo-R&B delivery. The album’s moments of beauty recall that late-February night show, when we had no idea what was about to hit us. \u003cem>—A.S.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2886199336/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ismay, \u003cem>Songs of Sonoma Mountain\u003c/em> (Ismay Music)\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2017, something spared Petaluma from the fires. It wasn’t a first responder, a quick-thinking housemate or even a sign from above. Sonoma Mountain, where songwriter \u003ca href=\"https://www.ismaymusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Avery Hellman\u003c/a> lives on a ranch, seems to have protected the North Bay town: Fires have a hard time descending downhill, and Petaluma contains less fast-burning vegetation than surrounding areas, which bought firefighters time. Hellman’s debut full-length album, recorded under their folk project Ismay, is set on Sonoma Mountain, and spends its eight tracks saying thank you to the land. Opener “A Song in Praise of Sonoma Mountain” imagines the flora and fauna of the ranch singing their own expressions of joy, while “When I Was Younger I Cried” uses river rocks and mountain sides as metaphors for gender identity. It’s an utterly lovely feat of folk imbued with gentle gratitude for Northern California. \u003cem>—Jody Amable\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"2020 threw us for a loop. Here’s the music that kept us afloat through it all. ","status":"publish","parent":0,"modified":1705019760,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://embed.music.apple.com/us/album/murder-weapon/1498266889","https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1015931905/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=676995628/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://embed.music.apple.com/us/album/let-me-go/1531051491","https://bandcamp.com/EmbeddedPlayer/album=277021995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://embed.music.apple.com/us/album/enlighten-the-night/1518607463","https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=2886199336/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":2092},"headData":{"title":"The 10 Best Bay Area Albums of 2020 | KQED","description":"2020 threw us for a loop. Here’s the music that kept us afloat through it all. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2020","datePublished":"2020-12-08T19:33:30.000Z","dateModified":"2024-01-12T00:36:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"2020 in Review","sourceUrl":"https://www.kqed.org/2020inreview","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13890048/the-10-best-bay-area-albums-of-2020","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>2020 threw the music industry for a loop. So many listeners said they had a hard time keeping up with new releases. Instead, old favorites became their emotional-support companions as they navigated a completely new reality. The artists themselves also had to make difficult adjustments: many asked themselves whether it was worth it to drop projects they recorded in the before-times. Were songs about pre-pandemic life still relevant? Did fans want music that reflected what was going on in the world or an escape?\u003c/p>\n\u003cp>As the year progressed, the answer proved to be a combination of both. Some of our favorite music gave us catharsis, some reflected our pain and some offered a joyful vision of what’s possible.\u003c/p>\n\u003cp>Below, KQED Arts & Culture contributors give us their top Bay Area albums of the year. Whether you’re into rap, indie rock, classical, jazz, folk or pop, there’s something for you on this list.\u003c/p>\n\u003cp>And, it’s worth noting, independent artists are cut off from touring and need our financial support now more than ever. So if you like what you hear, consider buying it on Bandcamp or iTunes. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"https://thaoandthegetdownstaydown.bandcamp.com/album/temple\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Thao & The Get Down Stay Down, \u003cem>Temple\u003c/em> (Ribbon Music)\u003c/h2>\n\u003cp>We children of immigrants carry the weight of our parents’ struggles on our shoulders; they sacrificed so much, so we feel the pressure to repay them by achieving the American dream. \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> flips the narrative with her piercing howl on the title track of \u003cem>Temple\u003c/em>, where she writes from the perspective of her mother, who fled Vietnam as a war refugee. With lyrics like “I lost my city in the light of day / Thick smoke and helicopter blades,” the punchy dance-rock track creates images of destruction, loss, survival and hope so visceral, they send chills. It’s a theme especially resonant during a year filled with a different kind of grief, where many of us have had to say goodbye to loved ones and old ways of life. \u003cem>Temple\u003c/em>’s hard, driving rhythms and fuzzed-out guitars give voice to necessary conversations about immigration, queerness and the quest to live fully in one’s power. \u003cem>—N.V.\u003c/em>\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!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/murder-weapon/1498266889\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>The Jacka, \u003cem>Murder Weapon\u003c/em> (The Artist Records/EMPIRE)\u003c/h2>\n\u003cp>After Dominick “The Jacka” Newton was killed in 2015, his manager PK pieced together old recordings for his posthumous album, \u003ca href=\"https://music.apple.com/us/album/murder-weapon/1498266889\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Murder Weapon\u003c/em>\u003c/a>. Although \u003cem>Murder Weapon\u003c/em> was recorded over the span of a few years, it still sounds current. It might help that it features well-known lyricists Styles P, Curren$y and Grammy nominee Freddie Gibbs, as well as The Jacka’s long-time collaborators Husalah, Rydah J. Klyde and producer RobLo.\u003c/p>\n\u003cp>The album is full of heavy bass lines and the gangsta-lifestyle lyrics you’d expect from The Jacka. There are references to drug consumption and distribution on “They Know What This Is” (featuring Paul Wall and Boo Banga) and evidence of extraterrestrial life on “Ancient Astronaut” (featuring Killah Priest). “We Outside,” a standout track with a catchy hook sung by what sounds like a chorus of children, is a bit ironic for 2020—but keep in mind it was released before shelter-in-place orders came down. When the Pittsburg-based MC drops the biographical bar, “Love me cause I’m gangsta, but I’m really trying to teach Islam,” I was reminded of my appreciation for an artist who so passionately balanced his human flaws and religious beliefs. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Discos Resaca Collective and Mariposas Del Alma, \u003cem>Y Te Cuento\u003c/em> (self-released)\u003c/h2>\n\u003cp>The first full-length album from cumbia collective \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Discos Resaca\u003c/a> is a masterclass in what makes the Bay Area yell, “Wepa!” \u003cem>Y Te Cuento\u003c/em> (\u003cem>And I’ll Tell You\u003c/em>) melds traditional cumbias from Central and South America with hip-hop and oldies to create a sound that’s powerful in its imagery and danceability. Hometown party anthems like “Cumbia de San Jose” tell the story of the local South Bay scene, while “Chupacabra” and “Se Va El Agua” employ the evocative storytelling traditions of cumbia.\u003c/p>\n\u003cp>Resaca cool things down on the album’s title track, a pensive tribute to lost loved ones, and on the DJ favorite “I Love You For All Seasons,” a mid-tempo cumbia sung by three Oakland sisters known as \u003ca href=\"https://mariposasdelalma.bandcamp.com/album/la-morena-sonidera-la-oaklandesa\" target=\"_blank\" rel=\"noopener noreferrer\">Mariposas Del Alma\u003c/a>. The collective features accordion master Ivan Flores, percussionist Wilson Posada, conguero Pedro Rosales, producer Xian Ballesteros and guitarists Fabian Martinez and Erik Molina, in collaboration with rapper Deuce Eclipse and Philthy Dronez. \u003cem>—Jessica Lipsky\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1015931905/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>James Wavey, \u003cem>Babe\u003c/em> (self-released)\u003c/h2>\n\u003cp>The 2020 release \u003cem>Babe\u003c/em> from Oakland-based rapper and producer \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a>, a.k.a. Alleyes Manifest, takes the listener on a smooth, sonic journey through blurred genre barriers, like a vintage mixtape that flows in fun and unpredictable ways. The project calls to mind snippets of lowrider oldies, Stax Records classics from RZA’s \u003cem>Shaolin Soul Selection\u003c/em>, nu-jazz and hip-hop. Wavey suavely layers his verses over warm samples warped with reverb and delay. The result is a catchy and soulful album presented in 10 short but flavorful tracks that are perfect for solo kitchen dance parties. \u003cem>—Masha Pershay\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=676995628/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kronos Quartet, \u003cem>Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger\u003c/em> (Smithsonian Folkways Recordings)\u003c/h2>\n\u003cp>At a time when this country seems to be closing in on itself, the \u003ca href=\"https://kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>’s careening exploration of the music and ideas of great American folk bard Pete Seeger opens up possibilities. The ever-peripatetic San Francisco string quartet has a knack for collaborating with some of the world’s most interesting musicians. \u003cem>Long Time Passing\u003c/em> enables us to listen to even the most picked-over songs from the Seeger cannon—“If I Had a Hammer,” “We Shall Overcome”—in a way that feels both edgy and comforting.\u003c/p>\n\u003cp>The album approaches transcendence not with these lovely covers of Seeger’s songs, but rather with a pair of contemporary, original tracks inspired by Seeger’s life. San Francisco born-and-raised composer Jacob Garchik’s spiraling “Storyteller” weaves snippets of Seeger’s singing and speaking voice, riffing on subjects as varied as his work with ethnomusicologist Alan Lomax and Marlene Dietrich’s German-language take on “Where Have All the Flowers Gone?” (“Sag’ mir, wo die Blumen sind”). And the version of folksinger Zoe Mulford’s “The President Sang Amazing Grace,” which singer Meklit performs with quiet intensity above long, spartan string chords, recalls what it means to be human in the face of disaster. \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/let-me-go/1531051491\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shy’An G, \u003cem>Let Me Go\u003c/em> (STP)\u003c/h2>\n\u003cp>If you prefer a more lyrical flavor of hip-hop, look no further than \u003ca href=\"https://music.apple.com/us/album/let-me-go/1531051491\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’An G\u003c/a>, a Berkeley rapper and producer whose \u003cem>Let Me Go\u003c/em> positions her as a multifaceted artist to watch. In an era where a “scam or be scammed” philosophy seems to touch all aspects of American culture, Shy’An G raps with a refreshing sincerity about trying to forge an honest path in a broken world. On the project, her rhymes move freely between motivation, social critique and clever witticisms. Thoughtful gems like “Who gets offended by generosity? / Hard work, patience, agility” from the somber, piano-driven “Remember This Day” sit comfortably beside the bass-heavy rambunctiousness of “Don’t Lose Focus” (a standout line: “My grandma in her 80s and she still rock stilettos”). Fans of Rapsody, Noname and Anderson .Paak should add Shy’An G to their collections. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=277021995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dougie Stu, \u003cem>Familiar Future\u003c/em> (Ropeadope)\u003c/h2>\n\u003cp>It takes a certain degree of humility to do whatever is necessary to elevate an ensemble’s sound for years before finally taking the helm of your own project. \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Stuart\u003c/a> has been that humble sideman, a vital bass and keyboard player on some of the Bay Area’s best and most eclectic acts: Bells Atlas, Meernaa, Brijean and astronauts, etc. On \u003cem>Familiar Future\u003c/em>, his debut as Dougie Stu, we see the crowning moment the multi-instrumentalist and composer has been working towards.\u003c/p>\n\u003cp>A cool and collected free jazz exploration with Stuart as bandleader, \u003cem>Familiar Future\u003c/em> calls upon a diverse cast of stellar musicians to enact his vision. “Henny” feels deftly inspired by Bob James’s iconic “Nautilus,” with Stuart’s far-out bass dancing alongside Jeff Parker’s guitar, Hamir Atwal’s jazzy drums, Rob Shelton’s hazy Korg synth and the violin/cello combo of Shaina Evoniuk and Crystal Pascucci. “BB’s Birthday” shines as Stuart’s finest arrangement, with Marcus Stephans’ flute and Brijean Murphy’s congas taking us into space. As its title suggests, \u003cem>Familiar Future\u003c/em> is an album about knowing where the road goes but biding your time to strike at the right moment. Stuart and his players have found it. \u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/enlighten-the-night/1518607463\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mahsa Vahdat, \u003cem>Enlighten the Night\u003c/em> (Six Degrees Records)\u003c/h2>\n\u003cp>Unable to pursue her career in Iran, where women vocalists are largely banned from performing solo in public, Mahsa Vahdat has found a place to thrive in the Bay Area. Last year she and her sister, vocalist Marjan Vahdat, collaborated with Kronos Quartet on a gorgeous album exploring themes of displacement and exile, \u003cem>Placeless\u003c/em>. Living in Berkeley with her husband, multi-instrumentalist and arranger Atabak Elyasi, she crafted a breathtaking collection of new songs on \u003cem>Enlighten the Night\u003c/em>. While working mostly within classical Persian modes, she weaves a numinous musical mélange with the Norwegian jazz trio of pianist Tord Gustavsen, bassist Gjermund Silset and drummer Kenneth Ekornes. Her compositions illuminate the work of beloved Persian poets like Rumi, Hafez and Omar Khayyam while also drawing on essential 20th-century Iranian writers like Nimā Yushij and Mohammad Ebrahim Jafari, the great poet and painter who provides the words for the quietly ecstatic opening piece “The Act of Freedom.” \u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>The Seshen, \u003cem>CYAN\u003c/em> (Tru Thoughts)\u003c/h2>\n\u003cp>It feels like an eternity ago when \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> debuted the \u003ca href=\"https://youtu.be/lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> to accompany the release of their third LP, \u003cem>CYAN\u003c/em>, at San Francisco’s Rickshaw Stop in late February. Lead singer Lalin St. Juste appeared equal parts raw, hopeful, emotive and mystical in the film. She seemed both at peace and nearly coming apart at the seams at the foot of the ocean’s crashing waves. \u003cem>CYAN\u003c/em> explores the many dimensions of depression, and today it feels prescient considering St. Juste is not alone in taking a long hard look at ourselves and what the heck is happening around us. The album jostles us gently on the synth pop swing of “Close Your Eyes,” and comforts us with the sea foam-like rhythm of “Faster Than Before” and hypnotic depths of “Still Dreaming.” Producer Akiyoshi Ehara sets up canvases for us to splash into like gooey oil paints as we navigate through St. Juste’s elegant neo-R&B delivery. The album’s moments of beauty recall that late-February night show, when we had no idea what was about to hit us. \u003cem>—A.S.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2886199336/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ismay, \u003cem>Songs of Sonoma Mountain\u003c/em> (Ismay Music)\u003c/h2>\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>In 2017, something spared Petaluma from the fires. It wasn’t a first responder, a quick-thinking housemate or even a sign from above. Sonoma Mountain, where songwriter \u003ca href=\"https://www.ismaymusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Avery Hellman\u003c/a> lives on a ranch, seems to have protected the North Bay town: Fires have a hard time descending downhill, and Petaluma contains less fast-burning vegetation than surrounding areas, which bought firefighters time. Hellman’s debut full-length album, recorded under their folk project Ismay, is set on Sonoma Mountain, and spends its eight tracks saying thank you to the land. Opener “A Song in Praise of Sonoma Mountain” imagines the flora and fauna of the ranch singing their own expressions of joy, while “When I Was Younger I Cried” uses river rocks and mountain sides as metaphors for gender identity. It’s an utterly lovely feat of folk imbued with gentle gratitude for Northern California. \u003cem>—Jody Amable\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13890048/the-10-best-bay-area-albums-of-2020","authors":["92"],"categories":["arts_1"],"tags":["arts_12958","arts_10342","arts_10278","arts_831","arts_2244","arts_6500","arts_3973"],"featImg":"arts_13890079","label":"source_arts_13890048"}},"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? 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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