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"content": "\u003cp>An art project that turned the border wall at the U.S.-Mexico border into the temporary base for pink see-saws—inviting children on each side to come play together—has won London’s Design Museum award for best design of 2020.\u003c/p>\n\u003cp>“We are totally surprised by this unexpected honor,” \u003ca href=\"https://www.instagram.com/p/CKOTVgDhxFv/\" target=\"_blank\" rel=\"noopener noreferrer\">said Ronald Rael\u003c/a>, who designed the project with fellow architect Virginia San Fratello. They share the award, he said, with the Juarez-based art collective Colectivo Chopeke.\u003c/p>\n\u003cp>“That’s amazing,” San Fratello said in a video feed announcing the prize. The see-saw installation won both the overall prize and in the transportation category. [aside postid='arts_13862548']\u003c/p>\n\u003cp>“Most importantly, it comes at a time when we are hopeful for change and that we start building more bridges instead of walls,” Rael added.\u003c/p>\n\u003cp>“The \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year\" target=\"_blank\" rel=\"noopener noreferrer\">Beazley Designs of the Year\u003c/a> are the Oscars of the design world,” said Razia Iqbal, a journalist who chaired the Design Museum’s panel of judges. The award, she noted, highlights work that pushes boundaries of creativity and innovation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The metal wall was meant to be a stark barrier dividing the U.S. and Mexico, the centerpiece of President Trump’s aggressive immigration policies. But in one spot, it became a junction point instead—a fulcrum for a series of see-saws that let children in the two countries share a playground toy.\u003c/p>\n\u003cp>https://www.instagram.com/p/CKOTVgDhxFv/\u003c/p>\n\u003cp>The project, officially named Teeter-Totter Wall, was \u003ca href=\"https://www.npr.org/2019/07/30/746612462/see-saw-diplomacy-lets-people-play-together-along-u-s-border-wall\" target=\"_blank\" rel=\"noopener noreferrer\">first installed in July of 2019\u003c/a>, when workers slid steel beams through the slats of the border near El Paso, Texas and Ciudad Juárez, Mexico.\u003c/p>\n\u003cp>“For the first time, children from both El Paso, Texas and the Anapra community in Mexico were invited to connect with their neighbors, in an attempt to create unity at the politically divisive border,” the museum said.\u003c/p>\n\u003cp>“Everyone was very happy and excited to engage the seesaws,” Rael told NPR at the time. The installation went smoothly, turning an idea that had been growing for 10 years into a reality.\u003c/p>\n\u003cp>“It was peaceful and fun—a day at a park for the children and mothers of Anapra,” Rael said.\u003c/p>\n\u003cp>“The project resonated with people around the world in a way that we didn’t anticipate,” San Fratello said when the award was announced. “It speaks to the fact that most people are excited about being together, and about optimism and about possibility and the future. And the divisiveness actually comes from the minority.”\u003c/p>\n\u003cp>Rael is a professor at the University of California, Berkeley; San Fratello teaches at San José State University. [aside postid='arts_13867520']\u003c/p>\n\u003cp>The see-saw project was chosen out of more than 70 nominees from dozens of countries, including a customized \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/fashion/stormzys-stab-proof-vest\" target=\"_blank\" rel=\"noopener noreferrer\">“stab-proof vest”\u003c/a> the artist Banksy designed for musician Stormzy.\u003c/p>\n\u003cp>Also considered: the \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/graphics/3d-rendering-of-sars-cov-2\" target=\"_blank\" rel=\"noopener noreferrer\">grey and red rendering of SARS-CoV-2\u003c/a>, the coronavirus that causes COVID-19. Commissioned by the U.S. Centers for Disease Control and Prevention and designed by Alissa Eckert and Dan Higgins, the famous sphere, with its menacing clusters of crowns, won the design award in the graphics category.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Impossible Burger 2.0 won in the crowded \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/product\" target=\"_blank\" rel=\"noopener noreferrer\">product category\u003c/a>, which also included LEGO Braille bricks and a self-sanitizing door handle.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=See-Saws+Built+On+U.S.+Border+Wall+Win+Prestigious+Design+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>It has stood for 83 years, redundantly selling the world’s most-advertised soft drink. The Coca-Cola sign is not a symbol of San Francisco any more than the name “Oracle Park” is a symbol of San Francisco, but it’s towered over the city since 1937, visible mainly to the long line of cars slogging through Bay Bridge rush-hour traffic on the raised freeway. \u003c/p>\n\u003cp>And \u003cstrong>now it’s coming down\u003c/strong>. Crews \u003ca href=\"https://twitter.com/scottbudman/status/1320875420405755904\" rel=\"noopener noreferrer\" target=\"_blank\">began dismantling\u003c/a> the Coca-Cola sign yesterday.\u003c/p>\n\u003cp>https://twitter.com/scottbudman/status/1320875420405755904\u003c/p>\n\u003cp>After a small parade of nostalgia and two- to three-word Facebook comments lamenting its disappearance, life in San Francisco will return to normal. But even though it was of no real consequence, the Coca-Cola sign was a thing, in your range of vision, for decades. We get used to the dependable presence of these things, and when they’re gone, like any landmark, disorientation ensues. A brief news item like this appears in order to prepare you for the absence, the next time you drive past.\u003c/p>\n\u003cp>\u003cstrong>The Details\u003c/strong>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>– The 30-by-70-foot sign was \u003ca href=\"https://brokeassstuart.com/2020/10/26/sfs-iconic-electric-coca-cola-sign-is-being-removed-forever/\" rel=\"noopener noreferrer\" target=\"_blank\">erected in 1937\u003c/a>, shortly after the construction of the Bay Bridge.\u003cbr>\n– Coca-Cola is spending $100,000 to tear it down, with \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Please-don-t-tear-it-down-San-15676669.php\" rel=\"noopener noreferrer\" target=\"_blank\">no plans for preservation\u003c/a>.\u003cbr>\n– A \u003ca href=\"https://tiremeetsroad.com/2020/10/26/historic-san-francisco-coca-cola-sign-above-bryant-st-scheduled-for-removal-after-83-years-of-advertising/\" rel=\"noopener noreferrer\" target=\"_blank\">permit\u003c/a> for the sign’s removal was issued by the City of San Francisco on Oct. 20.\u003cbr>\n– Supervisor Matt Haney is \u003ca href=\"https://twitter.com/MattHaneySF/status/1320929367313108993\" rel=\"noopener noreferrer\" target=\"_blank\">trying to keep it in one piece\u003c/a>, somehow.\u003cbr>\n– \u003ca href=\"https://www.facebook.com/TommysJoynt/posts/5393433154003762\" rel=\"noopener noreferrer\" target=\"_blank\">Tommy’s Joynt is still alive\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>– The 30-by-70-foot sign was \u003ca href=\"https://brokeassstuart.com/2020/10/26/sfs-iconic-electric-coca-cola-sign-is-being-removed-forever/\" rel=\"noopener noreferrer\" target=\"_blank\">erected in 1937\u003c/a>, shortly after the construction of the Bay Bridge.\u003cbr>\n– Coca-Cola is spending $100,000 to tear it down, with \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Please-don-t-tear-it-down-San-15676669.php\" rel=\"noopener noreferrer\" target=\"_blank\">no plans for preservation\u003c/a>.\u003cbr>\n– A \u003ca href=\"https://tiremeetsroad.com/2020/10/26/historic-san-francisco-coca-cola-sign-above-bryant-st-scheduled-for-removal-after-83-years-of-advertising/\" rel=\"noopener noreferrer\" target=\"_blank\">permit\u003c/a> for the sign’s removal was issued by the City of San Francisco on Oct. 20.\u003cbr>\n– Supervisor Matt Haney is \u003ca href=\"https://twitter.com/MattHaneySF/status/1320929367313108993\" rel=\"noopener noreferrer\" target=\"_blank\">trying to keep it in one piece\u003c/a>, somehow.\u003cbr>\n– \u003ca href=\"https://www.facebook.com/TommysJoynt/posts/5393433154003762\" rel=\"noopener noreferrer\" target=\"_blank\">Tommy’s Joynt is still alive\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On 17th and Telegraph, on the backside of \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media’s\u003c/a> Oakland headquarters, there’s a mural that stretches the length of the three story building. The colorful artwork was painted by \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe Goldsmith\u003c/a> and shows two people: one with their fist raised to the sky wearing a shirt that says “they/them”, and another person looking calmly at you, sort of inviting you in.\u003c/p>\n\u003cp>The models for the mural are artist and musician \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">Stoney Creation\u003c/a>, and \u003ca href=\"https://www.instagram.com/yxnibrmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanni Brump, \u003c/a>a non-binary model, event producer and public speaker.\u003c/p>\n\u003cfigure id=\"attachment_13887640\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/MuralYRMedia-800x774.png\" alt=\"Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph\" width=\"800\" height=\"774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-800x774.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-1020x986.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-160x155.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-768x743.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia.png 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was familiar with both Goldsmith and Stoney Creation before, but I didn’t know Yanni until I posted a picture of the mural. A friend tagged Yanni in the post, and looking at their page, I got a glimpse into all the things they do.\u003c/p>\n\u003cp>I reached out to Yanni and learned how they went from shy, to living their life unapologetically. Now you can see them posing for Vogue, walking in New York Fashion Week, speaking at protests, using TikTok videos as a tool to teach self love and being the face of this HUGE MURAL in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13887653\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/unnamed.jpg\" alt=\"Yanni Brump\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed-160x107.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, Yanni Brump gives us a crash course on finding the \u003cspan style=\"font-weight: 400\">courage within to trust in yourself.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8000011339\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Yanni Brump.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: Bring us into your world, what are you known for?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I start to say things about me, I usually like go back to childhood… I’m the oldest of seven kids. I was raised by my grandmother. I was a second parent in my household. I feel like I have a lot of umph. And whatever I say I’m gonna do, I do it. That has a lot to do with my upbringing and how I was raised by very strong, powerful Black women. They instilled that in me… Very big energy. I’m outspoken. And you’re going to notice me and I feel like it’s for good reason that I’m that way. I feel like my purpose is to shed light on as many people as I possibly can and to bring love and to show people there’s a way to just truly and authentically be yourself. Just being me is literally helping other people just be them…\u003c/p>\n\u003cp>I started producing a queer fashion show called Limitless, which was to bring more representation in the fashion industry for queer people, trans people, black people, indigenous people.\u003c/p>\n\u003cfigure id=\"attachment_13887652\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg\" alt=\"Yanni Brump walking the runway.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405.jpeg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump walking the runway.\u003c/figcaption>\u003c/figure>\n\u003cp>And I ran with that. I took it and I was like, this needs to be brought to so many other people… who need a place to feel like they’re them. Just a space to just exist and to be their whole self. So I started doing a day party, Drip Bay Area, which was for us to have a safe space, to come to a party, but also to just be together and feel safe in our space.\u003c/p>\n\u003cp>And then I’m working with Tik Tok. I just partnered with them to do a creative learning fund where I am basically doing videos, advice, tips on self care and self love.\u003c/p>\n\u003cp>\u003cem>PEN: I’m over here smiling because you just ooze with community passion. Like anybody who knows me knows that’s what I’m about. So, when you talk about self-love, what is your definition of it?\u003c/em>\u003c/p>\n\u003cp>YANNI: Wow, OK. [laugh] Self-love is you accepting all of you wholeheartedly, unapologetically. It’s the way you look at yourself. It’s the way you think about yourself. It’s how tender you are with you, when you’re maybe not meeting your expectations. It’s how you show up for you. I’m still working on it, but I’m working on it…\u003c/p>\n\u003cp>Expressing gratitude everyday, I would say, is like one of my top things, because the flow of abundance that comes from that is out of this world. I always feel like I’m living in a state of where I can give to other people, and every day is not going to be great. But being tender with yourself and being kind and speaking nice to yourself through it – it’s so much better on the other side. [laugh] It is.\u003c/p>\n\u003cp>\u003cem>PEN: Yeah. You are greener where you water your grass. But at one point, you were shy. How did you break out of being shy to being on TikTok and on the side of a building and then all the things that you mentioned?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I was younger, I would be considered what they would say “overweight.” I was bullied. I didn’t love myself. I didn’t really know who I was. I was in denial for a really long time about my gender and my sexuality. And I had an ex-partner of mine who was doing runway, and I was super inspired by her. And she took me to a casting. I didn’t want to go at first. But at the time, I identified as a woman and they were asking for masculine women to be in the show. And so I went on a whim and they made me walk in front of all these people. And I was like scared. But I did it. I did it. I kept doing it. And it and it starts to give me a sense of confidence. To just be me on a runway in front of all these people. Didn’t matter who was looking at me, what they thought about me. I was just able to be whatever version of myself that I chose to be.\u003c/p>\n\u003cfigure id=\"attachment_13887654\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg\" alt=\"Yanni Brump\" width=\"750\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74-160x161.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>Honestly, it felt like a portal or like me jumping into another version of myself. That was when I finally felt limitless in my life. I felt like I could do whatever I wanted to do. And I think it didn’t solely come down to me. I think that it had a lot to do with my ancestors who I feel chosen by. And I know that they saw something or enough in me to actually, like, live it out. And they rejoiced. And so much joy came in my heart and I’m actually here every day pushing to do it. And I know that that made them happy, too, because I could feel it like. And I and I know that I’m doing the right thing.\u003c/p>\n\u003cp>It feels great to be like, I’m in vogue! There is a black nonbinary person there existing and I’m unapologetic. There is a black non binary person there existing and I’m unapologetic. I have a fucking tattoo on my face. I have fucking tattoos all over my fucking body. I’m not going to sit here and conform to what you want for me. I’m gonna just fucking be me. Too many people died before me for me to stop. And to not be a part of the revolution. Like, no. I feel wonderful. So I just know that it’s possible because of. I’ve done it so far, which means that I could do all of it. And I’m going to keep doing it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On 17th and Telegraph, on the backside of \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media’s\u003c/a> Oakland headquarters, there’s a mural that stretches the length of the three story building. The colorful artwork was painted by \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe Goldsmith\u003c/a> and shows two people: one with their fist raised to the sky wearing a shirt that says “they/them”, and another person looking calmly at you, sort of inviting you in.\u003c/p>\n\u003cp>The models for the mural are artist and musician \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">Stoney Creation\u003c/a>, and \u003ca href=\"https://www.instagram.com/yxnibrmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanni Brump, \u003c/a>a non-binary model, event producer and public speaker.\u003c/p>\n\u003cfigure id=\"attachment_13887640\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/MuralYRMedia-800x774.png\" alt=\"Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph\" width=\"800\" height=\"774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-800x774.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-1020x986.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-160x155.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-768x743.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia.png 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was familiar with both Goldsmith and Stoney Creation before, but I didn’t know Yanni until I posted a picture of the mural. A friend tagged Yanni in the post, and looking at their page, I got a glimpse into all the things they do.\u003c/p>\n\u003cp>I reached out to Yanni and learned how they went from shy, to living their life unapologetically. Now you can see them posing for Vogue, walking in New York Fashion Week, speaking at protests, using TikTok videos as a tool to teach self love and being the face of this HUGE MURAL in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13887653\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/unnamed.jpg\" alt=\"Yanni Brump\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed-160x107.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, Yanni Brump gives us a crash course on finding the \u003cspan style=\"font-weight: 400\">courage within to trust in yourself.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8000011339\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Yanni Brump.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: Bring us into your world, what are you known for?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I start to say things about me, I usually like go back to childhood… I’m the oldest of seven kids. I was raised by my grandmother. I was a second parent in my household. I feel like I have a lot of umph. And whatever I say I’m gonna do, I do it. That has a lot to do with my upbringing and how I was raised by very strong, powerful Black women. They instilled that in me… Very big energy. I’m outspoken. And you’re going to notice me and I feel like it’s for good reason that I’m that way. I feel like my purpose is to shed light on as many people as I possibly can and to bring love and to show people there’s a way to just truly and authentically be yourself. Just being me is literally helping other people just be them…\u003c/p>\n\u003cp>I started producing a queer fashion show called Limitless, which was to bring more representation in the fashion industry for queer people, trans people, black people, indigenous people.\u003c/p>\n\u003cfigure id=\"attachment_13887652\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg\" alt=\"Yanni Brump walking the runway.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405.jpeg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump walking the runway.\u003c/figcaption>\u003c/figure>\n\u003cp>And I ran with that. I took it and I was like, this needs to be brought to so many other people… who need a place to feel like they’re them. Just a space to just exist and to be their whole self. So I started doing a day party, Drip Bay Area, which was for us to have a safe space, to come to a party, but also to just be together and feel safe in our space.\u003c/p>\n\u003cp>And then I’m working with Tik Tok. I just partnered with them to do a creative learning fund where I am basically doing videos, advice, tips on self care and self love.\u003c/p>\n\u003cp>\u003cem>PEN: I’m over here smiling because you just ooze with community passion. Like anybody who knows me knows that’s what I’m about. So, when you talk about self-love, what is your definition of it?\u003c/em>\u003c/p>\n\u003cp>YANNI: Wow, OK. [laugh] Self-love is you accepting all of you wholeheartedly, unapologetically. It’s the way you look at yourself. It’s the way you think about yourself. It’s how tender you are with you, when you’re maybe not meeting your expectations. It’s how you show up for you. I’m still working on it, but I’m working on it…\u003c/p>\n\u003cp>Expressing gratitude everyday, I would say, is like one of my top things, because the flow of abundance that comes from that is out of this world. I always feel like I’m living in a state of where I can give to other people, and every day is not going to be great. But being tender with yourself and being kind and speaking nice to yourself through it – it’s so much better on the other side. [laugh] It is.\u003c/p>\n\u003cp>\u003cem>PEN: Yeah. You are greener where you water your grass. But at one point, you were shy. How did you break out of being shy to being on TikTok and on the side of a building and then all the things that you mentioned?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I was younger, I would be considered what they would say “overweight.” I was bullied. I didn’t love myself. I didn’t really know who I was. I was in denial for a really long time about my gender and my sexuality. And I had an ex-partner of mine who was doing runway, and I was super inspired by her. And she took me to a casting. I didn’t want to go at first. But at the time, I identified as a woman and they were asking for masculine women to be in the show. And so I went on a whim and they made me walk in front of all these people. And I was like scared. But I did it. I did it. I kept doing it. And it and it starts to give me a sense of confidence. To just be me on a runway in front of all these people. Didn’t matter who was looking at me, what they thought about me. I was just able to be whatever version of myself that I chose to be.\u003c/p>\n\u003cfigure id=\"attachment_13887654\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg\" alt=\"Yanni Brump\" width=\"750\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74-160x161.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>Honestly, it felt like a portal or like me jumping into another version of myself. That was when I finally felt limitless in my life. I felt like I could do whatever I wanted to do. And I think it didn’t solely come down to me. I think that it had a lot to do with my ancestors who I feel chosen by. And I know that they saw something or enough in me to actually, like, live it out. And they rejoiced. And so much joy came in my heart and I’m actually here every day pushing to do it. And I know that that made them happy, too, because I could feel it like. And I and I know that I’m doing the right thing.\u003c/p>\n\u003cp>It feels great to be like, I’m in vogue! There is a black nonbinary person there existing and I’m unapologetic. There is a black non binary person there existing and I’m unapologetic. I have a fucking tattoo on my face. I have fucking tattoos all over my fucking body. I’m not going to sit here and conform to what you want for me. I’m gonna just fucking be me. Too many people died before me for me to stop. And to not be a part of the revolution. Like, no. I feel wonderful. So I just know that it’s possible because of. I’ve done it so far, which means that I could do all of it. And I’m going to keep doing it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fashion is About to Have Its #MeToo Moment—And It’s Long Overdue",
"headTitle": "Fashion is About to Have Its #MeToo Moment—And It’s Long Overdue | KQED",
"content": "\u003cp>On Sept. 21, a former president of Elite Model Management was formally accused by four women of sexual assault. Gérald Marie ran the European arm of Elite for 25 years. Now three models—Carré Otis, Jill Dodd and Ebba Karlsson—along with journalist Lisa Brinkworth, have filed \u003ca href=\"https://nypost.com/2020/09/27/former-elite-models-boss-accused-of-raping-models/\" target=\"_blank\" rel=\"noopener noreferrer\">legal papers\u003c/a> against Marie in Paris. Marie has “categorically” denied the accusations but, like Harvey Weinstein and Bill Cosby before him, rumors across his industry have painted him as a predator for decades.\u003c/p>\n\u003cp>Dodd wrote about being raped by Marie in her 2017 memoir, \u003ca href=\"https://www.simonandschuster.com/books/The-Currency-of-Love/Jill-Dodd/9781501150388\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Currency of Love\u003c/em>\u003c/a>. Otis made similar allegations in her 2011 autobiography, \u003cem>\u003ca href=\"https://www.harpercollins.com/products/beauty-disrupted-carre-otishugo-schwyzer?variant=32205798277154\" target=\"_blank\" rel=\"noopener noreferrer\">Beauty Disrupted\u003c/a>\u003c/em>, about events she said took place when she was 17. The detail she offered was harrowing. More recently, Otis told Lisa Brinkworth in \u003ca href=\"https://www.thetimes.co.uk/article/models-reveal-serial-sexual-abuse-behind-gloss-of-fashion-world-m50hdhxlz?wgu=270525_54264_16014038901379_56b51023a3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Times\u003c/em>\u003c/a> that, “The abuse was part of what was expected on the set from agents, photographers, stylists. If you don’t comply, you don’t work.”\u003c/p>\n\u003cp>In fact, looking at incidents reported by models and in the press as far back as the ’80s, an unhappy truth emerges: Marie is not an outlier in the industry. He is just one of several modeling executives to routinely appear connected to stories that involve inappropriate objectification at best, and sexual harassment and assault at worst.\u003c/p>\n\u003cp>An echo of Otis’ sentiment was expressed in 1988 during an \u003ca href=\"https://www.youtube.com/watch?v=CH8NAaPUvlo\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>60 Minutes\u003c/em>\u003c/a>, titled “American Girls in Paris.” In it, multiple models described exploitative and dangerous working conditions. One casually stated: “You’re there for the purpose of someone wanting to take you home to bed. [If you say no], you don’t work.” In the show, French agents including Claude Haddad from the Ford Agency and Jean-Luc Brunel of Karin Models were accused of sexual harassment and assault. [aside postid='arts_13882981']\u003c/p>\n\u003cp>Decades later, Brunel was pursued by American authorities as part of the Jeffrey Epstein sex trafficking investigation. Epstein had financed the opening of Brunel’s Miami modeling agency, MC2, in 2005. Of the professional partnership, former model Courtney Powell Soerensen told the \u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Miami Herald\u003c/em>\u003c/a> in 2019: “Brunel had access to a network of young women and it was already his proclivity to behave that way. When he connected with Epstein, they realized they could do it together. He is just as guilty if not more so than Epstein.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2019, one model who said she was drugged and assaulted by Brunel in 1987 gave a sworn statement to French authorities about the incident. No charges were filed because the statute of limitations had run out.\u003c/p>\n\u003cp>One Epstein survivor, \u003ca href=\"https://en.wikipedia.org/wiki/Virginia_Roberts_Giuffre\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia Roberts Giuffre\u003c/a>, claimed the financier once bragged to her that he had “slept with over a thousand of Brunel’s girls.” Brunel went into hiding after Epstein’s death last year and is now so infamous in his home country he’s earned the nickname “\u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">le fantôme\u003c/a>.”\u003c/p>\n\u003cp>Gérald Marie has been similarly slippery when it comes to being held accountable for the accusations leveled against him.\u003c/p>\n\u003cp>In 1999, a BBC investigative journalist named Donal MacIntyre went undercover and attempted to expose Marie in a television documentary. Despite revelations regarding Marie’s targeting of underage models, and an initial “unconditional apology” from Elite founder John Casablancas, Elite sued the BBC for defamation. The case was later settled out of court, with the BBC publicly stating that MacIntyre’s exposé had misrepresented Elite.\u003c/p>\n\u003cp>That lawsuit effectively shut down potential legal actions against Elite, and put Casablancas back on the offensive. “People aren’t allowed to be silly at 3am in the nightclub,” he said dismissively, “or in the privacy of their own home.” Regardless, the fallout from the BBC investigation prompted both Marie and another Elite executive, Xavier Moreau, to step down from their positions. [aside postid='pop_112955']\u003c/p>\n\u003cp>Though it is Marie who has caused the most controversy at Elite over the years, a \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">2000 article for \u003cem>New York\u003c/em>\u003c/a> magazine quoted a rival fashion agent as saying: “John [Casablancas] was as bad as Gérald [Marie], but he had a more elegant manner.”\u003c/p>\n\u003cp>While Casablancas—who died in 2013—considered Marie a professional rival and was open about their fractious personal relationship, he also actively turned a blind eye to Marie’s behavior for the sake of his business.\u003c/p>\n\u003cp>Last year, Marie Anderson, who was vice president of Elite Chicago for seven years during the ’80s, told the French outlet \u003cem>\u003ca href=\"https://www.20minutes.fr/justice/2624635-20191011-jean-luc-brunel-insaisissable-ami-jeffrey-epstein-accuse-deux-cotes-atlantique\" target=\"_blank\" rel=\"noopener noreferrer\">20 Minutes\u003c/a>\u003c/em>: “It was the culture of the time, everyone knew. We thought that the only thing to do was to warn the girls.” Anderson went on to relay an incident in which one 18-year-old model called her in tears from Paris because of the coercive harassment she said she received from Marie. The model later admitted to Anderson that she had eventually given in to his sexual demands in order to get work.\u003c/p>\n\u003cp>A final straw for Anderson came after she witnessed Marie and Casablancas yelling at two of Elite’s top female executives. When Lisa Herzog and Trudi Tapscott asked Marie and Casablancas to “stop sleeping with underage models,” Casablancas is said to have told the women to “relax,” while Marie reportedly yelled: “Go screw yourselves!” Casablancas later \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">dismissed the women’s complaints\u003c/a> as an example of American puritanism. Anderson resigned. [aside postid='arts_13884214']\u003c/p>\n\u003cp>Which is all to say, women in the fashion industry have been trying to sound the alarm for decades. And yet flattering myths around these agency bosses—in particular, John Casablancas—have persisted. A 2016 Netflix documentary titled \u003ca href=\"https://www.netflix.com/title/80137087\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Casablancas: The Man Who Loved Women\u003c/em>\u003c/a> works hard to hail the Elite founder as a maverick, hero and “starmaker.” This despite some jaw-dropping revelations in the film that are repeatedly glossed over.\u003c/p>\n\u003cp>In the documentary, the models in Casablancas and Marie’s midst are presented as beautiful objects to desire, use and discard. Models are seen wearing “Property of John Casablancas” T-shirts. Casablancas laughs at the memory of his father viewing his modeling agency as “a glorified brothel,” and he proudly explains that the original Elite logo “was a phallus and testicles … I loved it.”\u003c/p>\n\u003cp>More disturbing are his sexual relationships with teenagers. When Casablancas ends his marriage by beginning an affair with supermodel Stephanie Seymour, the fact that she’s 16 and he’s 42 garners only a brief mention. That “she broke [his] heart” is far more of a focus. That their break-up was prompted at least partially by an intervention from Seymour’s parents speaks volumes about the model’s immaturity at the time.\u003c/p>\n\u003cp>Later, when Casablancas talks about meeting Aline Wermelinger, a model he would marry when he was 49 and she was 17, his description of the moment is outstandingly creepy. He talks of her “baby face, green eyes and spectacular body … standing in front of us, innocent and pure.”\u003c/p>\n\u003cp>Footage of Casablancas being asked about his relationship with Wermelinger during a talk show appearance in the ’90s reveals him to be characteristically dismissive. “She comes from a country and I do too where there isn’t this fixation with age. People [in America] are obsessed with age … It’s my personal business, not yours.” [aside postid='arts_13883723']\u003c/p>\n\u003cp>Today, there are signs that small but significant shifts are afoot in fashion’s tolerance for such behavior. Emily Ratajkowski’s recent \u003ca href=\"https://www.thecut.com/article/emily-ratajkowski-owning-my-image-essay.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay for \u003cem>The Cut\u003c/em>\u003c/a>, which detailed her abuse and exploitation within the industry, garnered a refreshingly loud outcry. (If nothing else, it sent out a clear warning to any model who might consider working with photographer Jonathan Leder.)\u003c/p>\n\u003cp>In addition, \u003ca href=\"https://www.mariepanderson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marie Anderson\u003c/a> used her experience at Elite (as well as a number of other prominent agencies) to set up a coaching firm called \u003ca href=\"https://www.mariepanderson.com/boss-babe-models\" target=\"_blank\" rel=\"noopener noreferrer\">Boss Babes\u003c/a>. The company’s goal is to help young models navigate the industry, “while maintaining [their] purpose and dignity.”\u003c/p>\n\u003cp>Today, Gérald Marie is 70, the chairman of the Oui Management model agency and is on the defensive once again. But the Paris prosecutor’s office has confirmed it is investigating him. And the lawyer representing his accusers is also representing some of the women going after Brunel. These legal proceedings are beginning to look like a full-blown strategy, which—as the cases of Bill Cosby and Harvey Weinstein taught us—is essential if justice is ever to be served.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If the buried voices of models can emerge from across the decades and shout loud enough about Marie and Brunel together, fashion might just finally get its #MeToo reckoning. Lord knows it’s long overdue.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 21, a former president of Elite Model Management was formally accused by four women of sexual assault. Gérald Marie ran the European arm of Elite for 25 years. Now three models—Carré Otis, Jill Dodd and Ebba Karlsson—along with journalist Lisa Brinkworth, have filed \u003ca href=\"https://nypost.com/2020/09/27/former-elite-models-boss-accused-of-raping-models/\" target=\"_blank\" rel=\"noopener noreferrer\">legal papers\u003c/a> against Marie in Paris. Marie has “categorically” denied the accusations but, like Harvey Weinstein and Bill Cosby before him, rumors across his industry have painted him as a predator for decades.\u003c/p>\n\u003cp>Dodd wrote about being raped by Marie in her 2017 memoir, \u003ca href=\"https://www.simonandschuster.com/books/The-Currency-of-Love/Jill-Dodd/9781501150388\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Currency of Love\u003c/em>\u003c/a>. Otis made similar allegations in her 2011 autobiography, \u003cem>\u003ca href=\"https://www.harpercollins.com/products/beauty-disrupted-carre-otishugo-schwyzer?variant=32205798277154\" target=\"_blank\" rel=\"noopener noreferrer\">Beauty Disrupted\u003c/a>\u003c/em>, about events she said took place when she was 17. The detail she offered was harrowing. More recently, Otis told Lisa Brinkworth in \u003ca href=\"https://www.thetimes.co.uk/article/models-reveal-serial-sexual-abuse-behind-gloss-of-fashion-world-m50hdhxlz?wgu=270525_54264_16014038901379_56b51023a3\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Times\u003c/em>\u003c/a> that, “The abuse was part of what was expected on the set from agents, photographers, stylists. If you don’t comply, you don’t work.”\u003c/p>\n\u003cp>In fact, looking at incidents reported by models and in the press as far back as the ’80s, an unhappy truth emerges: Marie is not an outlier in the industry. He is just one of several modeling executives to routinely appear connected to stories that involve inappropriate objectification at best, and sexual harassment and assault at worst.\u003c/p>\n\u003cp>An echo of Otis’ sentiment was expressed in 1988 during an \u003ca href=\"https://www.youtube.com/watch?v=CH8NAaPUvlo\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>60 Minutes\u003c/em>\u003c/a>, titled “American Girls in Paris.” In it, multiple models described exploitative and dangerous working conditions. One casually stated: “You’re there for the purpose of someone wanting to take you home to bed. [If you say no], you don’t work.” In the show, French agents including Claude Haddad from the Ford Agency and Jean-Luc Brunel of Karin Models were accused of sexual harassment and assault. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Decades later, Brunel was pursued by American authorities as part of the Jeffrey Epstein sex trafficking investigation. Epstein had financed the opening of Brunel’s Miami modeling agency, MC2, in 2005. Of the professional partnership, former model Courtney Powell Soerensen told the \u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Miami Herald\u003c/em>\u003c/a> in 2019: “Brunel had access to a network of young women and it was already his proclivity to behave that way. When he connected with Epstein, they realized they could do it together. He is just as guilty if not more so than Epstein.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2019, one model who said she was drugged and assaulted by Brunel in 1987 gave a sworn statement to French authorities about the incident. No charges were filed because the statute of limitations had run out.\u003c/p>\n\u003cp>One Epstein survivor, \u003ca href=\"https://en.wikipedia.org/wiki/Virginia_Roberts_Giuffre\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia Roberts Giuffre\u003c/a>, claimed the financier once bragged to her that he had “slept with over a thousand of Brunel’s girls.” Brunel went into hiding after Epstein’s death last year and is now so infamous in his home country he’s earned the nickname “\u003ca href=\"https://www.miamiherald.com/news/local/article238351108.html\" target=\"_blank\" rel=\"noopener noreferrer\">le fantôme\u003c/a>.”\u003c/p>\n\u003cp>Gérald Marie has been similarly slippery when it comes to being held accountable for the accusations leveled against him.\u003c/p>\n\u003cp>In 1999, a BBC investigative journalist named Donal MacIntyre went undercover and attempted to expose Marie in a television documentary. Despite revelations regarding Marie’s targeting of underage models, and an initial “unconditional apology” from Elite founder John Casablancas, Elite sued the BBC for defamation. The case was later settled out of court, with the BBC publicly stating that MacIntyre’s exposé had misrepresented Elite.\u003c/p>\n\u003cp>That lawsuit effectively shut down potential legal actions against Elite, and put Casablancas back on the offensive. “People aren’t allowed to be silly at 3am in the nightclub,” he said dismissively, “or in the privacy of their own home.” Regardless, the fallout from the BBC investigation prompted both Marie and another Elite executive, Xavier Moreau, to step down from their positions. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though it is Marie who has caused the most controversy at Elite over the years, a \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">2000 article for \u003cem>New York\u003c/em>\u003c/a> magazine quoted a rival fashion agent as saying: “John [Casablancas] was as bad as Gérald [Marie], but he had a more elegant manner.”\u003c/p>\n\u003cp>While Casablancas—who died in 2013—considered Marie a professional rival and was open about their fractious personal relationship, he also actively turned a blind eye to Marie’s behavior for the sake of his business.\u003c/p>\n\u003cp>Last year, Marie Anderson, who was vice president of Elite Chicago for seven years during the ’80s, told the French outlet \u003cem>\u003ca href=\"https://www.20minutes.fr/justice/2624635-20191011-jean-luc-brunel-insaisissable-ami-jeffrey-epstein-accuse-deux-cotes-atlantique\" target=\"_blank\" rel=\"noopener noreferrer\">20 Minutes\u003c/a>\u003c/em>: “It was the culture of the time, everyone knew. We thought that the only thing to do was to warn the girls.” Anderson went on to relay an incident in which one 18-year-old model called her in tears from Paris because of the coercive harassment she said she received from Marie. The model later admitted to Anderson that she had eventually given in to his sexual demands in order to get work.\u003c/p>\n\u003cp>A final straw for Anderson came after she witnessed Marie and Casablancas yelling at two of Elite’s top female executives. When Lisa Herzog and Trudi Tapscott asked Marie and Casablancas to “stop sleeping with underage models,” Casablancas is said to have told the women to “relax,” while Marie reportedly yelled: “Go screw yourselves!” Casablancas later \u003ca href=\"https://nymag.com/nymetro/news/politics/columns/citypolitic/1866/\" target=\"_blank\" rel=\"noopener noreferrer\">dismissed the women’s complaints\u003c/a> as an example of American puritanism. Anderson resigned. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is all to say, women in the fashion industry have been trying to sound the alarm for decades. And yet flattering myths around these agency bosses—in particular, John Casablancas—have persisted. A 2016 Netflix documentary titled \u003ca href=\"https://www.netflix.com/title/80137087\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Casablancas: The Man Who Loved Women\u003c/em>\u003c/a> works hard to hail the Elite founder as a maverick, hero and “starmaker.” This despite some jaw-dropping revelations in the film that are repeatedly glossed over.\u003c/p>\n\u003cp>In the documentary, the models in Casablancas and Marie’s midst are presented as beautiful objects to desire, use and discard. Models are seen wearing “Property of John Casablancas” T-shirts. Casablancas laughs at the memory of his father viewing his modeling agency as “a glorified brothel,” and he proudly explains that the original Elite logo “was a phallus and testicles … I loved it.”\u003c/p>\n\u003cp>More disturbing are his sexual relationships with teenagers. When Casablancas ends his marriage by beginning an affair with supermodel Stephanie Seymour, the fact that she’s 16 and he’s 42 garners only a brief mention. That “she broke [his] heart” is far more of a focus. That their break-up was prompted at least partially by an intervention from Seymour’s parents speaks volumes about the model’s immaturity at the time.\u003c/p>\n\u003cp>Later, when Casablancas talks about meeting Aline Wermelinger, a model he would marry when he was 49 and she was 17, his description of the moment is outstandingly creepy. He talks of her “baby face, green eyes and spectacular body … standing in front of us, innocent and pure.”\u003c/p>\n\u003cp>Footage of Casablancas being asked about his relationship with Wermelinger during a talk show appearance in the ’90s reveals him to be characteristically dismissive. “She comes from a country and I do too where there isn’t this fixation with age. People [in America] are obsessed with age … It’s my personal business, not yours.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, there are signs that small but significant shifts are afoot in fashion’s tolerance for such behavior. Emily Ratajkowski’s recent \u003ca href=\"https://www.thecut.com/article/emily-ratajkowski-owning-my-image-essay.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay for \u003cem>The Cut\u003c/em>\u003c/a>, which detailed her abuse and exploitation within the industry, garnered a refreshingly loud outcry. (If nothing else, it sent out a clear warning to any model who might consider working with photographer Jonathan Leder.)\u003c/p>\n\u003cp>In addition, \u003ca href=\"https://www.mariepanderson.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marie Anderson\u003c/a> used her experience at Elite (as well as a number of other prominent agencies) to set up a coaching firm called \u003ca href=\"https://www.mariepanderson.com/boss-babe-models\" target=\"_blank\" rel=\"noopener noreferrer\">Boss Babes\u003c/a>. The company’s goal is to help young models navigate the industry, “while maintaining [their] purpose and dignity.”\u003c/p>\n\u003cp>Today, Gérald Marie is 70, the chairman of the Oui Management model agency and is on the defensive once again. But the Paris prosecutor’s office has confirmed it is investigating him. And the lawyer representing his accusers is also representing some of the women going after Brunel. These legal proceedings are beginning to look like a full-blown strategy, which—as the cases of Bill Cosby and Harvey Weinstein taught us—is essential if justice is ever to be served.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the buried voices of models can emerge from across the decades and shout loud enough about Marie and Brunel together, fashion might just finally get its #MeToo reckoning. Lord knows it’s long overdue.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-one-black-owned-printing-company-doubled-its-footprint-overnight",
"title": "How One Black-Owned Printing Company Doubled its Footprint Overnight",
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"headTitle": "How One Black-Owned Printing Company Doubled its Footprint Overnight | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll it took was a worldwide pandemic, nationwide protests of racial injustice and one huge purchase order to change a Black-owned East Bay clothing business—possibly forever.\u003c/p>\n\u003cp>Y’all remember the summer of 2020, right? That’s when it started. Before the natural disaster that is this election season and prior to the manmade disaster that is California’s annual wildfire season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Back when people got fed up with police brutality, groups of artists \u003ca href=\"https://www.kqed.org/news/11824301/black-lives-matter-painted-tall-on-san-francisco-streets\" target=\"_blank\" rel=\"noopener noreferrer\">painted “Black Lives Matter”\u003c/a> on the streets of major American cities and high-ranking officials from the Democratic party \u003ca href=\"https://www.kqed.org/arts/13881731/a-front-row-seat-at-the-woke-theatre\" target=\"_blank\" rel=\"noopener noreferrer\">posed for photos in Kente Cloth\u003c/a>. You recall: that bygone period in time when companies and celebrities issued \u003ca href=\"https://twitter.com/calebsaysthings/status/1269443711621947394\" target=\"_blank\" rel=\"noopener noreferrer\">vague “statements of solidarity”\u003c/a> with the Black Lives Matter movement once they realized posturing themselves on the right side of history would do well for their bottom line.\u003c/p>\n\u003cp>In the midst of all of that, a certain multinational Fortune 500 company made a politically incorrect blunder. It was so public, and the backlash so strong, that the company figured the best way to save face was to not only order a huge shipment of Black Lives Matter-inspired shirts for their employees, but also hire a Black-owned printing company to make them.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.bigprintingonline.com/bptc/shop/home\" target=\"_blank\" rel=\"noopener noreferrer\">Big Printing T-shirt Company\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13886659\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg\" alt=\"Dawaud Muhammad in the Big Printing factory in San Leandro.\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1020x538.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-768x405.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1536x810.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-2048x1080.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1920x1013.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawaud Muhammad in the Big Printing factory in San Leandro. \u003ccite>(Lauren J. Richardson of LacedMedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith headquarters in San Leandro, Big Printing is the backbone to some of the most \u003ca href=\"https://www.instagram.com/bigprinting/\" target=\"_blank\" rel=\"noopener noreferrer\">prominent street brands\u003c/a> in the clothing game, all around the nation. Locally, they print \u003ca href=\"https://www.instagram.com/philthyrichfod/\" target=\"_blank\" rel=\"noopener noreferrer\">Philthy Rich’s FOD line\u003c/a>, \u003ca href=\"https://www.instagram.com/realbeedaweeda/\" target=\"_blank\" rel=\"noopener noreferrer\">Beeda Weeda’s Mackin’ & Mobbin’\u003c/a> and \u003ca href=\"https://www.instagram.com/fabbydavisjr1/\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah Fab’s DOPE ERA\u003c/a>, as well as the rapper \u003ca href=\"https://www.instagram.com/cookie_money/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookie Money\u003c/a>. Threads have been assembled in their factory and landed on the backs of Snoop Dogg, Andre Ward and Marshawn Lynch.\u003c/p>\n\u003cp>But success isn’t an overnight shipment. The company has been at it for over two decades. And their origin story is about as authentically 1990s East Oakland as one can get.\u003c/p>\n\u003cp>In 1994, a 19-year-old ambitious teenager named Dawaud Muhammad was “looking for a hustle that wasn’t involved in the street life” when \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat\u003c/a>‘s footage of the \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Festival at The Lake\u003c/a> caught his eye—specifically a guy selling T-shirts.\u003c/p>\n\u003cp>Long story short: he met the guy, got some shirts wholesale and started a small business. Dawaud chose an animated brown-skinned man with a stern face and small afro as his logo. I’d go on to see the image all throughout my childhood.\u003c/p>\n\u003cfigure id=\"attachment_13886730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png\" alt=\"V White and Mac Dre in Big Pimpin' turf clothes.\" width=\"800\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-1020x1008.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-768x759.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM.png 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">V White and Mac Dre in Big Pimpin’ Turf Clothes. \u003ccite>(Big Printing Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initially, the company was called Big Pimpin’ Turf Clothes. There’s photos of \u003ca href=\"https://www.instagram.com/p/Bk4SSxVjKr0/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">V White (formerly known as V-Dal) of the Delinquents and the late Mac Dre\u003c/a>, as well as images of \u003ca href=\"https://www.instagram.com/p/CDRd4FXnMZA/\" target=\"_blank\" rel=\"noopener noreferrer\">Master P\u003c/a>, all sporting early renditions of the gear.\u003c/p>\n\u003cp>I recall versions of the shirts that were made for specifically for Oakland neighborhoods, like the Shady 80s or the Murda Dubbs (Murder Doves). (And it was deeper than just clothing: A childhood friend of mine, Marcell (RIP), once put hands on someone for wearing the shirt of a ‘hood he wasn’t really from. Made the kid take the shirt off in the middle of Dimond Park.)\u003c/p>\n\u003cp>Along the way, Big Pimpin’ blossomed. Dawaud started out selling the shirts out of his trunk. He moved on to cultural hubs like T’s Wauzi, a record store in the Eastmont Mall. And then he landed in places like the Solano Mall, Sacramento’s Arden Fair Mall and San Leandro’s Bayfair Mall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That last location proved to be immensely important. Not just because of how popular that mall used to be back in the day, but because it was the place where Dawaud would meet Kesney, who’s now the chief financial officer of Big Printing—as well as Dawaud’s partner in marriage.\u003c/p>\n\u003cp>Kesney came from a different background than Dawaud, who grew up on 86th Avenue and Birch Street in East Oakland. She’s from the East Bay suburb of Benicia. A Howard University grad who was working in Silicon Valley, her financial management expertis. e would prove to be key.\u003c/p>\n\u003cp>With her savviness, Big Pimpin’ Turf Clothes rebranded itself as Big Printing. It also grew from a single press in Dawaud’s grandmother’s house to multiple presses.\u003c/p>\n\u003cp>Dawaud and Kesney were married at the turn of the millennium, got a loft across the street from McClymonds High School in West Oakland in 2002, and in 2004 acquired an automatic press. So in 2005, they relocated to 900 Doolittle Drive in San Leandro.\u003c/p>\n\u003cfigure id=\"attachment_13886729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1468-800x600.jpg\" alt=\"New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with the acquisition of two embroidery machines, that move allowed the business to go from a 1,500-square-foot spot to a 2,500-square-foot location in the same area. Two years later they doubled in size to 5,000 square feet, still in San Leandro.\u003c/p>\n\u003cp>As the company grew, they honed the focus of their clientele: motorcycle clubs, churches and startup streetwear brands.\u003c/p>\n\u003cp>Social media, specifically Instagram and its paid ads, allowed the company to find customers from all around the country. “We found a lot more of ‘\u003cem>us\u003c/em>,'” says Dawaud, in reference to his community of African American entrepreneurs.\u003c/p>\n\u003cp>“We were happy and grateful to be a three-press shop with some embroidery,” says Kesney. “But as we began to work toward our niche market of developing brands, we began to see this need for our community.” Kesney says the business was a magnet for young African American folks who “had great vision, cool ideas and just needed a little bit of help to bring it to life.”\u003c/p>\n\u003cfigure id=\"attachment_13886731\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg\" alt=\"Kesney Muhammad checking her phone in the Big Printing reception area \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kesney Muhammad checks her phone in the Big Printing reception area. \u003ccite>( Lauren J. Richardson of LacedMedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ontractually, Big Printing can’t reveal the name of the giant Fortune 500 company that placed the huge Black Lives Matter order. But years of doing business has led Kesney to understanding the importance of this purchase order, and how it is a step toward finding a remedy to the economic divide that exists in America.\u003c/p>\n\u003cp>Talking with her about it brought up issues I was familiar with, like the disparity in wealth between Black and white households, as well as the U.S. unemployment rate, which is always worse for African Americans than just about any other demographic. But until I talked to Kesney, I didn’t know that so few Black-owned businesses actually have employees.\u003c/p>\n\u003cp>Citing the U.S. Census 2012 Survey of Business Owners, \u003ca href=\"https://blackdemographics.com/economics/black-owned-businesses/\" target=\"_blank\" rel=\"noopener noreferrer\">BlackDemographics.com\u003c/a> reports that approximately 95% of African American businesses don’t have a staff, aside from the owner or partnership.\u003c/p>\n\u003cp>Couple that with the \u003ca href=\"https://www.nber.org/papers/w27309.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">National Bureau of Economic Research’s\u003c/a> analysis that during the early stages of COVID-19, “African-American businesses were hit especially hard, experiencing a 41 percent drop,” and you start to see how important it is for small, Black-owned businesses to be integrated into larger businesses’ supply chain.\u003c/p>\n\u003cp>Big Printing took some early licks this year when business slowed down in China, but otherwise they weren’t phased by COVID-19. If anything, the pandemic brought business to their door. “The business started to skyrocket,” says Dawaud, noting that they got a few people thanking them for simply being open.\u003c/p>\n\u003cp>But nothing was like the big order they received at the start of the summer.\u003c/p>\n\u003cp>“I don’t know anybody who’s done 100,000 shirts,” says Dawaud, proudly reflecting on the order his company fulfilled.\u003c/p>\n\u003cp>“We have a business,” says Kesney, in a grounding tone. “We work for the money that we earn. We do a damn good job for every client we go out and print. Just the chance to bid on this type of order is great for us, and well-deserved.”\u003c/p>\n\u003cfigure id=\"attachment_13886732\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1465-800x600.jpg\" alt=\"Hats being embroidered at the Big Printing HQ\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hats being embroidered at the Big Printing HQ. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After 25 years of steady growth, the giant order allowed Big Printing to increase their staff by nearly 20%, acquire new machinery and double their physical footprint, in just three weeks.\u003c/p>\n\u003cp>The beneficiaries of this investment will be the owners and employees, as well as the numerous members of the community the business serves, which is heavily African American.\u003c/p>\n\u003cp>Kesney and Dawaud understand that ripple effect. They also understand the waves of woes that Africans Americans face when it comes to inequalities, particularly economic inequality, in the United States.\u003c/p>\n\u003cp>To that, Dawaud says, “You can make a statement, or you can make a donation. But you really don’t have to go that far to make a difference. All you really have to do is go to your procurement department and ask them, ‘Are we doing any business with Black vendors?’ If not, then make a conscious effort to see about changing that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Big Printing, in the East Bay for over 25 years, is using a large corporate purchase order to invest in the Black community.",
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"title": "How One Black-Owned Printing Company Doubled its Footprint Overnight | KQED",
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"headline": "How One Black-Owned Printing Company Doubled its Footprint Overnight",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll it took was a worldwide pandemic, nationwide protests of racial injustice and one huge purchase order to change a Black-owned East Bay clothing business—possibly forever.\u003c/p>\n\u003cp>Y’all remember the summer of 2020, right? That’s when it started. Before the natural disaster that is this election season and prior to the manmade disaster that is California’s annual wildfire season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Back when people got fed up with police brutality, groups of artists \u003ca href=\"https://www.kqed.org/news/11824301/black-lives-matter-painted-tall-on-san-francisco-streets\" target=\"_blank\" rel=\"noopener noreferrer\">painted “Black Lives Matter”\u003c/a> on the streets of major American cities and high-ranking officials from the Democratic party \u003ca href=\"https://www.kqed.org/arts/13881731/a-front-row-seat-at-the-woke-theatre\" target=\"_blank\" rel=\"noopener noreferrer\">posed for photos in Kente Cloth\u003c/a>. You recall: that bygone period in time when companies and celebrities issued \u003ca href=\"https://twitter.com/calebsaysthings/status/1269443711621947394\" target=\"_blank\" rel=\"noopener noreferrer\">vague “statements of solidarity”\u003c/a> with the Black Lives Matter movement once they realized posturing themselves on the right side of history would do well for their bottom line.\u003c/p>\n\u003cp>In the midst of all of that, a certain multinational Fortune 500 company made a politically incorrect blunder. It was so public, and the backlash so strong, that the company figured the best way to save face was to not only order a huge shipment of Black Lives Matter-inspired shirts for their employees, but also hire a Black-owned printing company to make them.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.bigprintingonline.com/bptc/shop/home\" target=\"_blank\" rel=\"noopener noreferrer\">Big Printing T-shirt Company\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13886659\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg\" alt=\"Dawaud Muhammad in the Big Printing factory in San Leandro.\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1020x538.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-768x405.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1536x810.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-2048x1080.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1920x1013.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawaud Muhammad in the Big Printing factory in San Leandro. \u003ccite>(Lauren J. Richardson of LacedMedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith headquarters in San Leandro, Big Printing is the backbone to some of the most \u003ca href=\"https://www.instagram.com/bigprinting/\" target=\"_blank\" rel=\"noopener noreferrer\">prominent street brands\u003c/a> in the clothing game, all around the nation. Locally, they print \u003ca href=\"https://www.instagram.com/philthyrichfod/\" target=\"_blank\" rel=\"noopener noreferrer\">Philthy Rich’s FOD line\u003c/a>, \u003ca href=\"https://www.instagram.com/realbeedaweeda/\" target=\"_blank\" rel=\"noopener noreferrer\">Beeda Weeda’s Mackin’ & Mobbin’\u003c/a> and \u003ca href=\"https://www.instagram.com/fabbydavisjr1/\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah Fab’s DOPE ERA\u003c/a>, as well as the rapper \u003ca href=\"https://www.instagram.com/cookie_money/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookie Money\u003c/a>. Threads have been assembled in their factory and landed on the backs of Snoop Dogg, Andre Ward and Marshawn Lynch.\u003c/p>\n\u003cp>But success isn’t an overnight shipment. The company has been at it for over two decades. And their origin story is about as authentically 1990s East Oakland as one can get.\u003c/p>\n\u003cp>In 1994, a 19-year-old ambitious teenager named Dawaud Muhammad was “looking for a hustle that wasn’t involved in the street life” when \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat\u003c/a>‘s footage of the \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Festival at The Lake\u003c/a> caught his eye—specifically a guy selling T-shirts.\u003c/p>\n\u003cp>Long story short: he met the guy, got some shirts wholesale and started a small business. Dawaud chose an animated brown-skinned man with a stern face and small afro as his logo. I’d go on to see the image all throughout my childhood.\u003c/p>\n\u003cfigure id=\"attachment_13886730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png\" alt=\"V White and Mac Dre in Big Pimpin' turf clothes.\" width=\"800\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-1020x1008.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-768x759.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM.png 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">V White and Mac Dre in Big Pimpin’ Turf Clothes. \u003ccite>(Big Printing Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initially, the company was called Big Pimpin’ Turf Clothes. There’s photos of \u003ca href=\"https://www.instagram.com/p/Bk4SSxVjKr0/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">V White (formerly known as V-Dal) of the Delinquents and the late Mac Dre\u003c/a>, as well as images of \u003ca href=\"https://www.instagram.com/p/CDRd4FXnMZA/\" target=\"_blank\" rel=\"noopener noreferrer\">Master P\u003c/a>, all sporting early renditions of the gear.\u003c/p>\n\u003cp>I recall versions of the shirts that were made for specifically for Oakland neighborhoods, like the Shady 80s or the Murda Dubbs (Murder Doves). (And it was deeper than just clothing: A childhood friend of mine, Marcell (RIP), once put hands on someone for wearing the shirt of a ‘hood he wasn’t really from. Made the kid take the shirt off in the middle of Dimond Park.)\u003c/p>\n\u003cp>Along the way, Big Pimpin’ blossomed. Dawaud started out selling the shirts out of his trunk. He moved on to cultural hubs like T’s Wauzi, a record store in the Eastmont Mall. And then he landed in places like the Solano Mall, Sacramento’s Arden Fair Mall and San Leandro’s Bayfair Mall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That last location proved to be immensely important. Not just because of how popular that mall used to be back in the day, but because it was the place where Dawaud would meet Kesney, who’s now the chief financial officer of Big Printing—as well as Dawaud’s partner in marriage.\u003c/p>\n\u003cp>Kesney came from a different background than Dawaud, who grew up on 86th Avenue and Birch Street in East Oakland. She’s from the East Bay suburb of Benicia. A Howard University grad who was working in Silicon Valley, her financial management expertis. e would prove to be key.\u003c/p>\n\u003cp>With her savviness, Big Pimpin’ Turf Clothes rebranded itself as Big Printing. It also grew from a single press in Dawaud’s grandmother’s house to multiple presses.\u003c/p>\n\u003cp>Dawaud and Kesney were married at the turn of the millennium, got a loft across the street from McClymonds High School in West Oakland in 2002, and in 2004 acquired an automatic press. So in 2005, they relocated to 900 Doolittle Drive in San Leandro.\u003c/p>\n\u003cfigure id=\"attachment_13886729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1468-800x600.jpg\" alt=\"New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with the acquisition of two embroidery machines, that move allowed the business to go from a 1,500-square-foot spot to a 2,500-square-foot location in the same area. Two years later they doubled in size to 5,000 square feet, still in San Leandro.\u003c/p>\n\u003cp>As the company grew, they honed the focus of their clientele: motorcycle clubs, churches and startup streetwear brands.\u003c/p>\n\u003cp>Social media, specifically Instagram and its paid ads, allowed the company to find customers from all around the country. “We found a lot more of ‘\u003cem>us\u003c/em>,'” says Dawaud, in reference to his community of African American entrepreneurs.\u003c/p>\n\u003cp>“We were happy and grateful to be a three-press shop with some embroidery,” says Kesney. “But as we began to work toward our niche market of developing brands, we began to see this need for our community.” Kesney says the business was a magnet for young African American folks who “had great vision, cool ideas and just needed a little bit of help to bring it to life.”\u003c/p>\n\u003cfigure id=\"attachment_13886731\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg\" alt=\"Kesney Muhammad checking her phone in the Big Printing reception area \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kesney Muhammad checks her phone in the Big Printing reception area. \u003ccite>( Lauren J. Richardson of LacedMedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ontractually, Big Printing can’t reveal the name of the giant Fortune 500 company that placed the huge Black Lives Matter order. But years of doing business has led Kesney to understanding the importance of this purchase order, and how it is a step toward finding a remedy to the economic divide that exists in America.\u003c/p>\n\u003cp>Talking with her about it brought up issues I was familiar with, like the disparity in wealth between Black and white households, as well as the U.S. unemployment rate, which is always worse for African Americans than just about any other demographic. But until I talked to Kesney, I didn’t know that so few Black-owned businesses actually have employees.\u003c/p>\n\u003cp>Citing the U.S. Census 2012 Survey of Business Owners, \u003ca href=\"https://blackdemographics.com/economics/black-owned-businesses/\" target=\"_blank\" rel=\"noopener noreferrer\">BlackDemographics.com\u003c/a> reports that approximately 95% of African American businesses don’t have a staff, aside from the owner or partnership.\u003c/p>\n\u003cp>Couple that with the \u003ca href=\"https://www.nber.org/papers/w27309.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">National Bureau of Economic Research’s\u003c/a> analysis that during the early stages of COVID-19, “African-American businesses were hit especially hard, experiencing a 41 percent drop,” and you start to see how important it is for small, Black-owned businesses to be integrated into larger businesses’ supply chain.\u003c/p>\n\u003cp>Big Printing took some early licks this year when business slowed down in China, but otherwise they weren’t phased by COVID-19. If anything, the pandemic brought business to their door. “The business started to skyrocket,” says Dawaud, noting that they got a few people thanking them for simply being open.\u003c/p>\n\u003cp>But nothing was like the big order they received at the start of the summer.\u003c/p>\n\u003cp>“I don’t know anybody who’s done 100,000 shirts,” says Dawaud, proudly reflecting on the order his company fulfilled.\u003c/p>\n\u003cp>“We have a business,” says Kesney, in a grounding tone. “We work for the money that we earn. We do a damn good job for every client we go out and print. Just the chance to bid on this type of order is great for us, and well-deserved.”\u003c/p>\n\u003cfigure id=\"attachment_13886732\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1465-800x600.jpg\" alt=\"Hats being embroidered at the Big Printing HQ\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hats being embroidered at the Big Printing HQ. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After 25 years of steady growth, the giant order allowed Big Printing to increase their staff by nearly 20%, acquire new machinery and double their physical footprint, in just three weeks.\u003c/p>\n\u003cp>The beneficiaries of this investment will be the owners and employees, as well as the numerous members of the community the business serves, which is heavily African American.\u003c/p>\n\u003cp>Kesney and Dawaud understand that ripple effect. They also understand the waves of woes that Africans Americans face when it comes to inequalities, particularly economic inequality, in the United States.\u003c/p>\n\u003cp>To that, Dawaud says, “You can make a statement, or you can make a donation. But you really don’t have to go that far to make a difference. All you really have to do is go to your procurement department and ask them, ‘Are we doing any business with Black vendors?’ If not, then make a conscious effort to see about changing that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">I\u003c/span> am what’s known as an “influencer.” I know, I know—it’s hard to say “influencer” without a tone of derision, and I’d argue there’s good cause for that. Influencers are known for shamelessly taking photos in public, often posing for forced lifestyle images that feel cheap and cheesy. Influencers will tag just about anything, right on down to a fruit drink, in a post that links \u003ca href=\"https://www.liketoknowit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">items for sale, from which they earn a commission\u003c/a>. Just a couple weeks ago, an influencer used the eerie wildfire-orange skies of San Francisco as a backdrop to sell a $200 orange tulle dress.\u003c/p>\n\u003cp>So when it comes to mocking influencers and how they are generally seen? I get it.\u003c/p>\n\u003cp>But the influencer space is also female-dominated. It’s an arena that gives women a platform on which to become very successful, and to be their own boss, with very little investment. That’s part of why it’s mocked, I believe: because it is a predominantly female industry.\u003c/p>\n\u003cp>I am Black. I am biracial. I am a Black, biracial, person-of-color influencer. And while there’s certainly no shortage of influencers here in wine country, the pool is significantly smaller for Black biracial POC influencers. This sometimes plays to my advantage, but it also means I’m left feeling like the “diversity token” at many local winery and hospitality events. [aside postID='arts_13881650']\u003c/p>\n\u003cp>When I decided earlier this year to join marches for Breonna Taylor and George Floyd, and to use \u003ca href=\"https://www.instagram.com/amusedblog/\" target=\"_blank\" rel=\"noopener noreferrer\">my Instagram platform\u003c/a> to speak up about the racial injustices occurring both locally and nationwide, many wineries conspicuously unfollowed me—even after posting the “black square of support” on #BlackoutTuesday. When the driver of a Porsche \u003ca href=\"https://www.reddit.com/r/santarosa/comments/hd1myp/this_is_the_porsche_that_attacked_the_protest/\" target=\"_blank\" rel=\"noopener noreferrer\">accelerated into our march one night\u003c/a>, ramming its way through our group, I shared it to my Instagram stories. It generated 12,762 impressions, but not a single brand or winery had any response to it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Neither did they reach out to speak to me privately about it at the time, or in the weeks that followed. Neither did any local influencers except one, another Black woman. Six weeks later, when a trendy social-justice posting opportunity of \u003ca href=\"https://www.kqed.org/arts/13883979/empowerment-selfies-are-burying-a-turkish-womens-rights-campaign\" target=\"_blank\" rel=\"noopener noreferrer\">sharing a black-and-white selfie\u003c/a> presented itself, I was tagged and sent DMs by these same brands and influencers who’d ignored that fact that I was nearly \u003ca href=\"https://www.bohemian.com/northbay/protesters-allege-motorist-tried-to-hit-them/Content?oid=10246249\" target=\"_blank\" rel=\"noopener noreferrer\">run over by a car\u003c/a>, and who now encouraged me to share and post a viral, appropriated trend.\u003c/p>\n\u003cp>These were companies and people I’d supported for years. And now, when I needed it most, why weren’t they supporting me and my people?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13886692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Wineries.Pensive.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Wineries.Pensive.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Wineries.Pensive-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Wineries.Pensive-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">W\u003c/span>e have reached a precipice: because of social media and the ubiquity of smartphones, the unjust killings and brutality shown towards people of color can no longer be ignored. We all know. You know. The brands, the wine and hospitality industries, they know. And they choose to either remain silent, or do the bare minimum. Many have continued on with business as usual.\u003c/p>\n\u003cp>Part of this is because only 2% of the industry’s winemakers identify as Black. I’ve seen nearly every excuse in the book for this: POC’s lack of access to wine, or that the Black community isn’t educated enough to understand that wine can be a career, a claim that’s absolutely absurd.\u003c/p>\n\u003cp>Meanwhile, as brands like Crest, Target, Josh Wines and Revlon have been willing to generously compensate me, the local Sonoma and Napa wine and hospitality industries are slow to do so. Many wineries push back with excuses of a small marketing budget. But is that really true? [aside postID='pop_112536']\u003c/p>\n\u003cp>Take the practice of fellow influencers and social marketers reaching out to me and several other “friends” to join them for winery events. These event coordinators will invite 4-10 influencers from San Francisco and the wider Bay Area, and throw in 1-2 local influencers to participate in what’s called a “lifestyle event,” the idea being that the influencers will share the experience with their audience via social media and websites. Contracts are signed; I am often asked to sign away my image, likeness, and image rights to participate in events such as these. This means that my face and images can be used in marketing materials, in perpetuity, without mention of my name, however the winery desires.\u003c/p>\n\u003cp>It is rare that I am compensated for these events—again, usually I am fed the “narrow marketing budget” excuse. So when I later discovered that my “friends” earn thousands of dollars to invite me and others, while contracting out the use of my platform, I felt betrayed. The wineries are indeed willing to pay; even the same wineries which in the past had told me they had no budget.\u003c/p>\n\u003cp>A handful of wineries have shown support for Black Lives Matter in these past several months, but even fewer have actually held themselves accountable to it, which means it’s performative. When one winery was recently asked on social media what they’d done to keep themselves accountable to their promise, they responded with their commitment to “equal opportunity employment.” That is a legal demand in fair and equal employment, regulated by national law—not an opportunity to pat oneself on the back. [aside postID='arts_13883979']\u003c/p>\n\u003cp>Another telling moment came when I asked my Instagram community: “What local wineries have shown support for Black Lives Matter?” I received multiple mentions of wineries that my followers had felt claimed to support Black Lives Matter, but didn’t in practice. When I tagged these wineries with my followers’ responses, offering them a chance to respond, what I got instead were passive-aggressive responses from one winery owner, and then private messages from a “Black man from East Oakland” the winery had sent to me, who they’d worked with in the past, and who told me to remove my content.\u003c/p>\n\u003cp>Then, the winery asked me if I could lead a videoconference discussion on race with their wine club members, without any compensation offered. After they agreed to set up a call with just me, one-on-one, they continued to read my messages. But wouldn’t you know it?\u003c/p>\n\u003cp>They stopped responding.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13886691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/WIneries.Vineyards.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WIneries.Vineyards.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WIneries.Vineyards-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WIneries.Vineyards-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">T\u003c/span>o see most of the wineries that I’ve worked with fail to even acknowledge the Black Lives Matter movement tells me that they care more about alienating their consumer base than they care about my life. Perhaps they feel that it would be “too political” a stance to take.\u003c/p>\n\u003cp>But wine has always been political. It was political during prohibition. It was political when Dry Creek Valley grew \u003ca href=\"https://sonomacounty.ca.gov/PRMD/Planning/Historic-Resources/Dry-Creek-Valley/Settlement/\" target=\"_blank\" rel=\"noopener noreferrer\">mainly fruit trees\u003c/a>. It was political when Napa County \u003ca href=\"https://winesvinesanalytics.com/features/article/93725/Napa-Valley-Viticulture-A-Farmers-Outlook\" target=\"_blank\" rel=\"noopener noreferrer\">established its urban growth boundary\u003c/a> in 1983. It was political when environmentalists raised \u003ca href=\"https://www.theava.com/archives/9057\" target=\"_blank\" rel=\"noopener noreferrer\">issues of water usage and runoff\u003c/a> into watersheds. Do not allow misleading rhetoric to trick you into thinking that the wine industry, with all of its \u003ca href=\"https://winewaterwatch.org/2019/05/under-the-influence-how-the-wine-industry-dominates-sonoma-county-election-campaigns-2-2/\" target=\"_blank\" rel=\"noopener noreferrer\">lobbying power\u003c/a>, is not political. It is. Only what we are seeing here is that the wine industry would like to pick and choose its politics to keep visitors with a certain skin tone comfortable, in a space where the \u003ca href=\"https://www.bohemian.com/northbay/fruits-of-their-labor/Content?oid=2284786&showFullText=true\" target=\"_blank\" rel=\"noopener noreferrer\">labor of people of color\u003c/a> is crucial.\u003c/p>\n\u003cp>At the majority of lifestyle events I’ve worked, I have been the only person of color, and the only Black female. So it’s hard to witness this conspicuous silence from wineries, just as it’s hard to see so much lip service and performance-based allyship.\u003c/p>\n\u003cp>Performance-based allyship is posting Black Lives Matter content only to Instagram stories, because you don’t want it to ruin your main feed; using a 24-hour window to speak up about injustice knowing it will quickly disappear isn’t speaking up. Performance-based allyship is posting to your Instagram feed but making no real changes in your company’s policy, approach to business, or personal daily life. Performative-based allyship is just that: an act.[aside postID='arts_13881199']\u003c/p>\n\u003cp>Being an ally isn’t easy. It’s scary, and upsetting, and the guilt that sometimes comes with learning about systemic racism can be uncomfortable. Well-intentioned people are afraid to offend, or to make mistakes in the learning process of becoming an ally, and that’s understandable. But here’s the thing: do it anyway. Make the mistakes. Fall on your face. And then get back up and dust yourself off. It will be ok. Allyship is a learning process. It will take a lot of reading. There will be conversations that you dread. But it will lead to understanding.\u003c/p>\n\u003cp>I was thinking about all of this last night when I received a DM from a local winery owner. She’d been silent in the past several months, but actively listening. “Can you call me?” she asked. “Do you have time to chat?”\u003c/p>\n\u003cp>By the end of the conversation, I had tears in my eyes. She and I made plans to meet in person to discover how we can work to actively support Black communities here in Sonoma County. She wants to make a difference. “I’ve been watching. I’ve been listening. And now I’m ready to act,” she said.\u003c/p>\n\u003cp>And together, I believe we will. We’ll work to bridge the gap between underrepresented faces of color in the wine and hospitality industries in Sonoma County, and put action to the words that Black lives matter for others to follow.\u003c/p>\n\u003cp>That is the power of influence. And it’s the right way to show up for racial justice: to meditate on a need and the desire to help, and then to set out to do so, \u003cem>while involving a person of color\u003c/em>. It’s more beautiful than any $200 tulle dress, and I’ve never been more humbled or proud.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amber Lucas is a Sonoma County-based writer and influencer. Find her \u003ca href=\"https://www.instagram.com/amusedblog/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>, and read more of her writing at \u003ca href=\"https://www.amusedblog.com/\" target=\"_blank\" rel=\"noopener noreferrer\">A•Mused\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "As a wine country influencer, the silence from wineries about Black Lives Matter feels like a betrayal.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">I\u003c/span> am what’s known as an “influencer.” I know, I know—it’s hard to say “influencer” without a tone of derision, and I’d argue there’s good cause for that. Influencers are known for shamelessly taking photos in public, often posing for forced lifestyle images that feel cheap and cheesy. Influencers will tag just about anything, right on down to a fruit drink, in a post that links \u003ca href=\"https://www.liketoknowit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">items for sale, from which they earn a commission\u003c/a>. Just a couple weeks ago, an influencer used the eerie wildfire-orange skies of San Francisco as a backdrop to sell a $200 orange tulle dress.\u003c/p>\n\u003cp>So when it comes to mocking influencers and how they are generally seen? I get it.\u003c/p>\n\u003cp>But the influencer space is also female-dominated. It’s an arena that gives women a platform on which to become very successful, and to be their own boss, with very little investment. That’s part of why it’s mocked, I believe: because it is a predominantly female industry.\u003c/p>\n\u003cp>I am Black. I am biracial. I am a Black, biracial, person-of-color influencer. And while there’s certainly no shortage of influencers here in wine country, the pool is significantly smaller for Black biracial POC influencers. This sometimes plays to my advantage, but it also means I’m left feeling like the “diversity token” at many local winery and hospitality events. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I decided earlier this year to join marches for Breonna Taylor and George Floyd, and to use \u003ca href=\"https://www.instagram.com/amusedblog/\" target=\"_blank\" rel=\"noopener noreferrer\">my Instagram platform\u003c/a> to speak up about the racial injustices occurring both locally and nationwide, many wineries conspicuously unfollowed me—even after posting the “black square of support” on #BlackoutTuesday. When the driver of a Porsche \u003ca href=\"https://www.reddit.com/r/santarosa/comments/hd1myp/this_is_the_porsche_that_attacked_the_protest/\" target=\"_blank\" rel=\"noopener noreferrer\">accelerated into our march one night\u003c/a>, ramming its way through our group, I shared it to my Instagram stories. It generated 12,762 impressions, but not a single brand or winery had any response to it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Neither did they reach out to speak to me privately about it at the time, or in the weeks that followed. Neither did any local influencers except one, another Black woman. Six weeks later, when a trendy social-justice posting opportunity of \u003ca href=\"https://www.kqed.org/arts/13883979/empowerment-selfies-are-burying-a-turkish-womens-rights-campaign\" target=\"_blank\" rel=\"noopener noreferrer\">sharing a black-and-white selfie\u003c/a> presented itself, I was tagged and sent DMs by these same brands and influencers who’d ignored that fact that I was nearly \u003ca href=\"https://www.bohemian.com/northbay/protesters-allege-motorist-tried-to-hit-them/Content?oid=10246249\" target=\"_blank\" rel=\"noopener noreferrer\">run over by a car\u003c/a>, and who now encouraged me to share and post a viral, appropriated trend.\u003c/p>\n\u003cp>These were companies and people I’d supported for years. And now, when I needed it most, why weren’t they supporting me and my people?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13886692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Wineries.Pensive.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Wineries.Pensive.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Wineries.Pensive-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Wineries.Pensive-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">W\u003c/span>e have reached a precipice: because of social media and the ubiquity of smartphones, the unjust killings and brutality shown towards people of color can no longer be ignored. We all know. You know. The brands, the wine and hospitality industries, they know. And they choose to either remain silent, or do the bare minimum. Many have continued on with business as usual.\u003c/p>\n\u003cp>Part of this is because only 2% of the industry’s winemakers identify as Black. I’ve seen nearly every excuse in the book for this: POC’s lack of access to wine, or that the Black community isn’t educated enough to understand that wine can be a career, a claim that’s absolutely absurd.\u003c/p>\n\u003cp>Meanwhile, as brands like Crest, Target, Josh Wines and Revlon have been willing to generously compensate me, the local Sonoma and Napa wine and hospitality industries are slow to do so. Many wineries push back with excuses of a small marketing budget. But is that really true? \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take the practice of fellow influencers and social marketers reaching out to me and several other “friends” to join them for winery events. These event coordinators will invite 4-10 influencers from San Francisco and the wider Bay Area, and throw in 1-2 local influencers to participate in what’s called a “lifestyle event,” the idea being that the influencers will share the experience with their audience via social media and websites. Contracts are signed; I am often asked to sign away my image, likeness, and image rights to participate in events such as these. This means that my face and images can be used in marketing materials, in perpetuity, without mention of my name, however the winery desires.\u003c/p>\n\u003cp>It is rare that I am compensated for these events—again, usually I am fed the “narrow marketing budget” excuse. So when I later discovered that my “friends” earn thousands of dollars to invite me and others, while contracting out the use of my platform, I felt betrayed. The wineries are indeed willing to pay; even the same wineries which in the past had told me they had no budget.\u003c/p>\n\u003cp>A handful of wineries have shown support for Black Lives Matter in these past several months, but even fewer have actually held themselves accountable to it, which means it’s performative. When one winery was recently asked on social media what they’d done to keep themselves accountable to their promise, they responded with their commitment to “equal opportunity employment.” That is a legal demand in fair and equal employment, regulated by national law—not an opportunity to pat oneself on the back. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another telling moment came when I asked my Instagram community: “What local wineries have shown support for Black Lives Matter?” I received multiple mentions of wineries that my followers had felt claimed to support Black Lives Matter, but didn’t in practice. When I tagged these wineries with my followers’ responses, offering them a chance to respond, what I got instead were passive-aggressive responses from one winery owner, and then private messages from a “Black man from East Oakland” the winery had sent to me, who they’d worked with in the past, and who told me to remove my content.\u003c/p>\n\u003cp>Then, the winery asked me if I could lead a videoconference discussion on race with their wine club members, without any compensation offered. After they agreed to set up a call with just me, one-on-one, they continued to read my messages. But wouldn’t you know it?\u003c/p>\n\u003cp>They stopped responding.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13886691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/WIneries.Vineyards.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WIneries.Vineyards.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WIneries.Vineyards-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WIneries.Vineyards-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">T\u003c/span>o see most of the wineries that I’ve worked with fail to even acknowledge the Black Lives Matter movement tells me that they care more about alienating their consumer base than they care about my life. Perhaps they feel that it would be “too political” a stance to take.\u003c/p>\n\u003cp>But wine has always been political. It was political during prohibition. It was political when Dry Creek Valley grew \u003ca href=\"https://sonomacounty.ca.gov/PRMD/Planning/Historic-Resources/Dry-Creek-Valley/Settlement/\" target=\"_blank\" rel=\"noopener noreferrer\">mainly fruit trees\u003c/a>. It was political when Napa County \u003ca href=\"https://winesvinesanalytics.com/features/article/93725/Napa-Valley-Viticulture-A-Farmers-Outlook\" target=\"_blank\" rel=\"noopener noreferrer\">established its urban growth boundary\u003c/a> in 1983. It was political when environmentalists raised \u003ca href=\"https://www.theava.com/archives/9057\" target=\"_blank\" rel=\"noopener noreferrer\">issues of water usage and runoff\u003c/a> into watersheds. Do not allow misleading rhetoric to trick you into thinking that the wine industry, with all of its \u003ca href=\"https://winewaterwatch.org/2019/05/under-the-influence-how-the-wine-industry-dominates-sonoma-county-election-campaigns-2-2/\" target=\"_blank\" rel=\"noopener noreferrer\">lobbying power\u003c/a>, is not political. It is. Only what we are seeing here is that the wine industry would like to pick and choose its politics to keep visitors with a certain skin tone comfortable, in a space where the \u003ca href=\"https://www.bohemian.com/northbay/fruits-of-their-labor/Content?oid=2284786&showFullText=true\" target=\"_blank\" rel=\"noopener noreferrer\">labor of people of color\u003c/a> is crucial.\u003c/p>\n\u003cp>At the majority of lifestyle events I’ve worked, I have been the only person of color, and the only Black female. So it’s hard to witness this conspicuous silence from wineries, just as it’s hard to see so much lip service and performance-based allyship.\u003c/p>\n\u003cp>Performance-based allyship is posting Black Lives Matter content only to Instagram stories, because you don’t want it to ruin your main feed; using a 24-hour window to speak up about injustice knowing it will quickly disappear isn’t speaking up. Performance-based allyship is posting to your Instagram feed but making no real changes in your company’s policy, approach to business, or personal daily life. Performative-based allyship is just that: an act.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Being an ally isn’t easy. It’s scary, and upsetting, and the guilt that sometimes comes with learning about systemic racism can be uncomfortable. Well-intentioned people are afraid to offend, or to make mistakes in the learning process of becoming an ally, and that’s understandable. But here’s the thing: do it anyway. Make the mistakes. Fall on your face. And then get back up and dust yourself off. It will be ok. Allyship is a learning process. It will take a lot of reading. There will be conversations that you dread. But it will lead to understanding.\u003c/p>\n\u003cp>I was thinking about all of this last night when I received a DM from a local winery owner. She’d been silent in the past several months, but actively listening. “Can you call me?” she asked. “Do you have time to chat?”\u003c/p>\n\u003cp>By the end of the conversation, I had tears in my eyes. She and I made plans to meet in person to discover how we can work to actively support Black communities here in Sonoma County. She wants to make a difference. “I’ve been watching. I’ve been listening. And now I’m ready to act,” she said.\u003c/p>\n\u003cp>And together, I believe we will. We’ll work to bridge the gap between underrepresented faces of color in the wine and hospitality industries in Sonoma County, and put action to the words that Black lives matter for others to follow.\u003c/p>\n\u003cp>That is the power of influence. And it’s the right way to show up for racial justice: to meditate on a need and the desire to help, and then to set out to do so, \u003cem>while involving a person of color\u003c/em>. It’s more beautiful than any $200 tulle dress, and I’ve never been more humbled or proud.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Amber Lucas is a Sonoma County-based writer and influencer. Find her \u003ca href=\"https://www.instagram.com/amusedblog/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>, and read more of her writing at \u003ca href=\"https://www.amusedblog.com/\" target=\"_blank\" rel=\"noopener noreferrer\">A•Mused\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Don't Sweat(pants) it. The House Dress is Here to Rescue 2020",
"headTitle": "Don’t Sweat(pants) it. The House Dress is Here to Rescue 2020 | KQED",
"content": "\u003cp>For Lynette Gabriel, it started with a dressed-up Zoom brunch with girlfriends. She called in from her home in Oakland, in a leopard-print long-sleeve gown from the back of her closet. Snacking on smoked-salmon potato hash and sipping on a glass of rosé, Gabriel found her new house fashion.\u003c/p>\n\u003cp>“We actually now call ourselves ‘The Real Housewives of Quarantine’ in our house dresses,” Gabriel says and chuckles.\u003c/p>\n\u003cfigure id=\"attachment_13884976\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg\" alt=\"Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram.\" width=\"200\" height=\"305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef-160x244.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram. \u003ccite>(Lynette Gabriel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billowing linen. Cozy cotton. Floating silk. The house dress is having a 2020 renaissance. Flowy tunics, chic kimonos and muumuus, and ankle-length T-shirts are floating into more and more shopping carts—a sartorial coping mechanism for the modern pandemic age.\u003c/p>\n\u003cp>Clothes and mood are intertwined, argues fashion psychologist Dawnn Karen, author of \u003cem>Dress Your Best Life\u003c/em>. And so, the house dress is a perfect fit for this moment: a small expression of control during the uncontrollable, a taste of free-flowing freedom in a time rife with restrictions, a sense of structure and style on the days that feel hazy and dull.\u003c/p>\n\u003cp>“I’ve actually gotten rid of some fancier dresses to make room for more house dresses because … I would say I’m wearing a house dress at least three times a week,” says Preeti Chaulk, a data manager from Cincinnati. House dresses followed her around Instagram—worn by influencers, advertised by brands—soon leaving a trail of striking floral designs \u003ca href=\"https://www.instagram.com/preetichaulk/\" target=\"_blank\" rel=\"noopener noreferrer\">on her own feed\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For decades, the house dress got a bad rep—a throwback to the times when women’s sway was confined to housework. Its origin is said to trace to a Victorian gown that freed women of corsets but clad them instead in a baggy matronly smock named after “Mother Hubbard” from old nursery rhymes.\u003c/p>\n\u003cp>Even as the house dress got more shapely and stylish, its focus was chicness during chores—some in the 1940s and ’50s even came with matching oven mitts. Then, the house dress loosened up, made most famous by the \u003ca href=\"https://www.pinterest.com/pin/113715959318469855/\" target=\"_blank\" rel=\"noopener noreferrer\">flamboyant caftans of Helen Roper\u003c/a> on the ’70s sitcom \u003cem>Three’s Company.\u003c/em> Still, a stigma trailed the garment: an artifact that’s dowdy, dated and perhaps involves “laying on your couch eating bonbons,” Chaulk jokes.\u003c/p>\n\u003cp>“We’re all busy women, we’re doing things [in house dresses],” she exclaims. And OK, that might still involve some errands or a nap on the couch. Is it so wrong to crave an occasional bonbon? The 2020 house dress is not here to judge or cast expectations.\u003c/p>\n\u003cfigure id=\"attachment_13884975\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg\" alt=\"Preeti Chaulk has worked from home for many years but says she's never owned more house dresses than now. "I kind of always wanted to have that approach of like, I'm not wearing pajamas, but I'm still very comfortable—enter the house dress," she says.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Preeti Chaulk has worked from home for many years but says she’s never owned more house dresses than now. “I kind of always wanted to have that approach of like, I’m not wearing pajamas, but I’m still very comfortable—enter the house dress,” she says. \u003ccite>(Preeti Chaulk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have to say—linen, comfortable clothes—it’s actually very contagious. … It’s addictive,” says Malgosia Archer, a Polish and British designer who sells lounge dresses through her \u003ca href=\"https://www.etsy.com/shop/GoshYaga\">Etsy shop, GoshYaga\u003c/a>.\u003c/p>\n\u003cp>“Ghost” is how her teenage daughters have dubbed her most popular item: a billowing cloud of white linen, with pockets. Back before the pandemic, Archer had worried her airy fabrics wouldn’t be in demand until the summer. Now, even her daughters are lounging in versions of the “ghost” dress.\u003c/p>\n\u003cp>Across the world in Arizona, Jade Banner can relate. Her online store \u003ca href=\"https://dwellandslumber.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dwell & Slumber\u003c/a>—known especially for its caftans—is having difficulty keeping up with demand. Most notably, Banner’s designs have finally won over her most elusive customer: her mother.\u003c/p>\n\u003cp>“She would not wear my dresses,” Banner says. “She likes clothes to be more fitted, more tailored. She just didn’t get it.”\u003c/p>\n\u003cp>But on Banner’s recent visits to her parents, there was her mother, lounging in a spacious Dwell & Slumber special—converted into a house-dress believer during the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13884977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg\" alt='\"I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,\" says Lauren Niimi from Chicago.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,” says Lauren Niimi from Chicago. \u003ccite>(Lauren Niimi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My dad says, ‘She won’t wear anything else—what have you done?’ ” Banner says with a laugh. “I do finally feel victorious.”\u003c/p>\n\u003cp>Fashion psychologist Karen says an outfit can serve a higher purpose if it helps you express your mood, lift your spirits or save you the need for extra decisions. In the hamster wheel of housebound life—with all the mask-wearing and hand sanitizing and social distancing—maybe the house dress is a triple promise:\u003c/p>\n\u003cp>It might comfort you if you’re down, hold you up if you’re content and ease choice with a single look that can take you from a nap to a business call, to the backyard, to a nice dinner.\u003c/p>\n\u003cp>“I put it on and … had some work to do, and I sat outside on a screened-in porch and just felt like finally some peace had rolled over me after many months of not being at peace,” says \u003ca href=\"https://www.instagram.com/lmkdelights/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lauren Niimi\u003c/a>, a school administrator, baker, artist and mom to three boys from Chicago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She’d bought her embroidered house dress on a whim, pining for a missed summer trip to wine country, looking at outfits she might have worn there: easy, effortless, relaxed. Thirty dollars, she says, was a small price to pay for a little bit of happiness.\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=Don%27t+Sweat%28pants%29+It.+The+House+Dress+Is+Here+To+Rescue+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Lynette Gabriel, it started with a dressed-up Zoom brunch with girlfriends. She called in from her home in Oakland, in a leopard-print long-sleeve gown from the back of her closet. Snacking on smoked-salmon potato hash and sipping on a glass of rosé, Gabriel found her new house fashion.\u003c/p>\n\u003cp>“We actually now call ourselves ‘The Real Housewives of Quarantine’ in our house dresses,” Gabriel says and chuckles.\u003c/p>\n\u003cfigure id=\"attachment_13884976\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg\" alt=\"Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram.\" width=\"200\" height=\"305\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lynette_custom-850162b12b42783322a33b0434321b927d1717ef-160x244.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Wearing this dress for a virtual brunch with friends, e-commerce merchandiser Lynette Gabriel declared it a house dress on Instagram. \u003ccite>(Lynette Gabriel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billowing linen. Cozy cotton. Floating silk. The house dress is having a 2020 renaissance. Flowy tunics, chic kimonos and muumuus, and ankle-length T-shirts are floating into more and more shopping carts—a sartorial coping mechanism for the modern pandemic age.\u003c/p>\n\u003cp>Clothes and mood are intertwined, argues fashion psychologist Dawnn Karen, author of \u003cem>Dress Your Best Life\u003c/em>. And so, the house dress is a perfect fit for this moment: a small expression of control during the uncontrollable, a taste of free-flowing freedom in a time rife with restrictions, a sense of structure and style on the days that feel hazy and dull.\u003c/p>\n\u003cp>“I’ve actually gotten rid of some fancier dresses to make room for more house dresses because … I would say I’m wearing a house dress at least three times a week,” says Preeti Chaulk, a data manager from Cincinnati. House dresses followed her around Instagram—worn by influencers, advertised by brands—soon leaving a trail of striking floral designs \u003ca href=\"https://www.instagram.com/preetichaulk/\" target=\"_blank\" rel=\"noopener noreferrer\">on her own feed\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For decades, the house dress got a bad rep—a throwback to the times when women’s sway was confined to housework. Its origin is said to trace to a Victorian gown that freed women of corsets but clad them instead in a baggy matronly smock named after “Mother Hubbard” from old nursery rhymes.\u003c/p>\n\u003cp>Even as the house dress got more shapely and stylish, its focus was chicness during chores—some in the 1940s and ’50s even came with matching oven mitts. Then, the house dress loosened up, made most famous by the \u003ca href=\"https://www.pinterest.com/pin/113715959318469855/\" target=\"_blank\" rel=\"noopener noreferrer\">flamboyant caftans of Helen Roper\u003c/a> on the ’70s sitcom \u003cem>Three’s Company.\u003c/em> Still, a stigma trailed the garment: an artifact that’s dowdy, dated and perhaps involves “laying on your couch eating bonbons,” Chaulk jokes.\u003c/p>\n\u003cp>“We’re all busy women, we’re doing things [in house dresses],” she exclaims. And OK, that might still involve some errands or a nap on the couch. Is it so wrong to crave an occasional bonbon? The 2020 house dress is not here to judge or cast expectations.\u003c/p>\n\u003cfigure id=\"attachment_13884975\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg\" alt=\"Preeti Chaulk has worked from home for many years but says she's never owned more house dresses than now. "I kind of always wanted to have that approach of like, I'm not wearing pajamas, but I'm still very comfortable—enter the house dress," she says.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/preeti_custom-58f3db393a5edf395f108af577cbb5bb5526ed94-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Preeti Chaulk has worked from home for many years but says she’s never owned more house dresses than now. “I kind of always wanted to have that approach of like, I’m not wearing pajamas, but I’m still very comfortable—enter the house dress,” she says. \u003ccite>(Preeti Chaulk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have to say—linen, comfortable clothes—it’s actually very contagious. … It’s addictive,” says Malgosia Archer, a Polish and British designer who sells lounge dresses through her \u003ca href=\"https://www.etsy.com/shop/GoshYaga\">Etsy shop, GoshYaga\u003c/a>.\u003c/p>\n\u003cp>“Ghost” is how her teenage daughters have dubbed her most popular item: a billowing cloud of white linen, with pockets. Back before the pandemic, Archer had worried her airy fabrics wouldn’t be in demand until the summer. Now, even her daughters are lounging in versions of the “ghost” dress.\u003c/p>\n\u003cp>Across the world in Arizona, Jade Banner can relate. Her online store \u003ca href=\"https://dwellandslumber.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dwell & Slumber\u003c/a>—known especially for its caftans—is having difficulty keeping up with demand. Most notably, Banner’s designs have finally won over her most elusive customer: her mother.\u003c/p>\n\u003cp>“She would not wear my dresses,” Banner says. “She likes clothes to be more fitted, more tailored. She just didn’t get it.”\u003c/p>\n\u003cp>But on Banner’s recent visits to her parents, there was her mother, lounging in a spacious Dwell & Slumber special—converted into a house-dress believer during the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13884977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg\" alt='\"I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,\" says Lauren Niimi from Chicago.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/lauren_vert-ea6829837d2c701a16c6930983aaaad1fde2d163-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I put [the new house dress] on and immediately felt like I could transform into a different place and have a different feeling,” says Lauren Niimi from Chicago. \u003ccite>(Lauren Niimi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My dad says, ‘She won’t wear anything else—what have you done?’ ” Banner says with a laugh. “I do finally feel victorious.”\u003c/p>\n\u003cp>Fashion psychologist Karen says an outfit can serve a higher purpose if it helps you express your mood, lift your spirits or save you the need for extra decisions. In the hamster wheel of housebound life—with all the mask-wearing and hand sanitizing and social distancing—maybe the house dress is a triple promise:\u003c/p>\n\u003cp>It might comfort you if you’re down, hold you up if you’re content and ease choice with a single look that can take you from a nap to a business call, to the backyard, to a nice dinner.\u003c/p>\n\u003cp>“I put it on and … had some work to do, and I sat outside on a screened-in porch and just felt like finally some peace had rolled over me after many months of not being at peace,” says \u003ca href=\"https://www.instagram.com/lmkdelights/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lauren Niimi\u003c/a>, a school administrator, baker, artist and mom to three boys from Chicago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She’d bought her embroidered house dress on a whim, pining for a missed summer trip to wine country, looking at outfits she might have worn there: easy, effortless, relaxed. Thirty dollars, she says, was a small price to pay for a little bit of happiness.\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=Don%27t+Sweat%28pants%29+It.+The+House+Dress+Is+Here+To+Rescue+2020&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "its-still-raining-game-in-northern-california",
"title": "It's Still Raining Game in Northern California",
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"headTitle": "It’s Still Raining Game in Northern California | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\n\u003cp>https://youtu.be/e1U-t277yXE\u003c/p>\n\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n",
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"excerpt": "A worldwide pandemic can’t stifle musicians, filmmakers, rappers and artists in the Bay Area.",
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"title": "It's Still Raining Game in Northern California | KQED",
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"headline": "It's Still Raining Game in Northern California",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/e1U-t277yXE'\n title='//www.youtube.com/embed/e1U-t277yXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Got a Creative Mask Idea? You Could Win $500 in a Mask-Making Competition",
"headTitle": "Got a Creative Mask Idea? You Could Win $500 in a Mask-Making Competition | KQED",
"content": "\u003cp>Our foreseeable future is a masked one. Already, I recite a new mantra when I leave my home, lest I forget one of four essential items: “Keys, wallet, phone, \u003ci>mask\u003c/i>.”\u003c/p>\n\u003cp>The initial rush to produce as many simple-but-effective face coverings as possible (most notably, to address personal protective equipment shortfalls for front-line workers and medical personnel) was necessary and generous. But as panic subsides into a baseline of healthy, responsible caution, there’s more room for creativity. Yes, we wish we didn’t have to wear them, but it’s time to embrace masks as an expression of personal fashion.\u003c/p>\n\u003cp>In this vein, San Francisco’s Museum of Craft and Design (MCD) announced the launch of a nationwide mask-making design competition they’re calling \u003ca href=\"http://sfmcd.org/letsfaceit/\" target=\"_blank\" rel=\"noopener noreferrer\">Let’s Face It\u003c/a>. The free competition requires only two digital images of your mask (off and on a face) and is open to all. The winning design will receive $500, a runner-up will receive $250 and third place will receive $100. Additional recognition (but no cash prize) will go to “best in show,” “best student design” and “most unique design.”\u003c/p>\n\u003cfigure id=\"attachment_13880348\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks.jpg\" alt=\"\" width=\"3000\" height=\"1687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks-1920x1080.jpg 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Artist and designer Bailey Hikawa’s ‘Origami Masks.’ \u003ccite>(\u003ca href=\"https://www.baileyhikawa.com/shop/face-masks\">Courtesy the artist\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcel Wilson, founder and design director of the San Francisco landscape architecture firm Bionic, and JoAnn Edwards, executive director of the MCD, will judge the entries. The scope of the competition is wide enough to embrace even your most out-there submissions. “From the practical to the avant-garde, all masks or personal protective equipment covering the face are eligible to apply,” the guidelines read.\u003c/p>\n\u003cp>Entries are open through May 31, and as if you need extra incentive to participate in a free competition, for each design entered, the MCD will donate a new mask to the San Francisco-Marin Food Bank. \u003ca href=\"http://sfmcd.org/letsfaceit/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our foreseeable future is a masked one. Already, I recite a new mantra when I leave my home, lest I forget one of four essential items: “Keys, wallet, phone, \u003ci>mask\u003c/i>.”\u003c/p>\n\u003cp>The initial rush to produce as many simple-but-effective face coverings as possible (most notably, to address personal protective equipment shortfalls for front-line workers and medical personnel) was necessary and generous. But as panic subsides into a baseline of healthy, responsible caution, there’s more room for creativity. Yes, we wish we didn’t have to wear them, but it’s time to embrace masks as an expression of personal fashion.\u003c/p>\n\u003cp>In this vein, San Francisco’s Museum of Craft and Design (MCD) announced the launch of a nationwide mask-making design competition they’re calling \u003ca href=\"http://sfmcd.org/letsfaceit/\" target=\"_blank\" rel=\"noopener noreferrer\">Let’s Face It\u003c/a>. The free competition requires only two digital images of your mask (off and on a face) and is open to all. The winning design will receive $500, a runner-up will receive $250 and third place will receive $100. Additional recognition (but no cash prize) will go to “best in show,” “best student design” and “most unique design.”\u003c/p>\n\u003cfigure id=\"attachment_13880348\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks.jpg\" alt=\"\" width=\"3000\" height=\"1687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/BaileyHikawaOrigamiMasks-1920x1080.jpg 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Artist and designer Bailey Hikawa’s ‘Origami Masks.’ \u003ccite>(\u003ca href=\"https://www.baileyhikawa.com/shop/face-masks\">Courtesy the artist\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marcel Wilson, founder and design director of the San Francisco landscape architecture firm Bionic, and JoAnn Edwards, executive director of the MCD, will judge the entries. The scope of the competition is wide enough to embrace even your most out-there submissions. “From the practical to the avant-garde, all masks or personal protective equipment covering the face are eligible to apply,” the guidelines read.\u003c/p>\n\u003cp>Entries are open through May 31, and as if you need extra incentive to participate in a free competition, for each design entered, the MCD will donate a new mask to the San Francisco-Marin Food Bank. \u003ca href=\"http://sfmcd.org/letsfaceit/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How a 23-Year-Old Tattoo Artist, Sidelined by Shutdown, Is Getting By",
"headTitle": "How a 23-Year-Old Tattoo Artist, Sidelined by Shutdown, Is Getting By | KQED",
"content": "\u003cp>Emma Pierce was driving home from the airport when she got the call from her tattoo shop.\u003c/p>\n\u003cp>Since she’d been on vacation in Japan for three weeks, the shop owner explained, and since this new thing called the coronavirus seemed pretty dangerous, some coworkers had expressed concern about her returning to work after traveling abroad.\u003c/p>\n\u003cp>[pullquote align='right' size='small']\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Rent: $1,400/mo.\u003c/li>\n\u003cli>Car Payment and Insurance: $250/mo.\u003c/li>\n\u003cli>Groceries: $100-$200/mo.\u003c/li>\n\u003cli>Average Income Before Shutdown: $700–$900/wk.\u003c/li>\n\u003cli>Unemployment Compensation After Shutdown: $450/wk.\u003c/li>\n\u003cli>Still Waiting On: $1,200 Federal Stimulus Check\u003c/li>\n\u003c/ul>\n\u003cp>\u003cbr>\n[/pullquote]\u003c/p>\n\u003cp>Pierce agreed to self-quarantine at home for the next 14 days, foregoing income. When she finally returned to work, after paying for a vacation and having no income for over a month, she got a week of work in before the shelter-in-place order closed the shop entirely. \u003c/p>\n\u003cp>Now, sitting on the couch in a $1,400-a-month, 600-square-foot Santa Rosa apartment she just started renting with her boyfriend, Pierce doesn’t know when she’ll be able to work again.\u003c/p>\n\u003cp>Along with over 6 million others in the United States, she’s filed for unemployment. And she considers herself lucky to have a cushion of money saved up—about $10,000.\u003c/p>\n\u003cp>“Which is not that much,” she says. “But I feel like for someone my age, at 23, it’s a lot.”\u003c/p>\n\u003cp>Hopefully it will be enough. Pierce has no idea when the shop will reopen. When it does, “I think it’ll be slow, especially walk-ins,” she says, aware that people may be cautious of skin-to-skin contact with strangers. “Everything will be different. It’s worrying.”\u003c/p>\n\u003cfigure id=\"attachment_13878432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Countertop-800x534.jpg\" alt=\"Emma Pierce draws at her kitchen counter in Santa Rosa.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce draws at her kitchen counter in Santa Rosa. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Income and Expenses\u003c/h2>\n\u003cp>It’s a marked change from the upward trajectory of the young tattoo artist’s career. Pierce had been consistently booked out two-to-three weeks in advance at Santa Rosa’s Glass Beetle Tattoo, bringing in an average of $700–$900 a week.\u003c/p>\n\u003cp>“So sometimes as much as $4,000 a month. And that’s after taxes, plus cash,” she says.\u003c/p>\n\u003cp>Pierce also benefited from changes at the shop brought on by AB5, the California assembly bill meant to reclassify gig workers and independent contractors as employees. While other rent-your-station businesses like hair salons, barber shops and tattoo parlors struggled with the bill’s byzantine restrictions, the owner of Pierce’s shop simply put everyone on payroll and proposed a commission model. For every tattoo Pierce does, the shop gets 40%, and she gets 60% plus tips. \u003c/p>\n\u003cp>Often, like many restaurant servers, Pierce lives off those cash tips for day-to-day expenses. She and her boyfriend spend $100–$200 a week on groceries (a book laying on her shelf is titled \u003cem>101 Things to Do With Ramen Noodles\u003c/em>). Between her insurance and loan payment on her 2017 Mistubishi Mirage, she spends $250 a month on the car. A therapist helps with the stress of work (“I recommend it literally for everyone,” Pierce says); she pays on a sliding scale at $40–$60 a week. \u003c/p>\n\u003cfigure id=\"attachment_13878433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Station-800x534.jpg\" alt=\"Emma Pierce at her station, which has been empty since the shutdown closed the tattoo shop where she works.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce at her station, which has been empty since the shutdown closed the tattoo shop where she works. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pierce saves money in other ways. She bought a used iPad Pro for $500 on eBay (about half the cost of a new one), which she uses to draw tattoos for appointments. When she’s working, she has enough bookings that she doesn’t need to pay for Instagram ads, and the shop owner buys communal supplies like needles, tubes, inks, gloves and paper towels. And she’s still covered under her mom’s health insurance plan for another month.\u003c/p>\n\u003cp>Her most emphatic advice, for young people especially, is to set up a direct deposit into a savings account. She sends 10% of each paycheck into her savings automatically. “It’s really helpful, you don’t have to even think about it, and then you have a little bit in savings after a while,” she says.\u003c/p>\n\u003cp>She does note that she was privileged to live with her mom until a month ago, and to not have experienced much financial hardship. But she also works hard, coming home from work at 8 or 9pm and then drawing the next day’s appointments until midnight. \u003c/p>\n\u003cp>Considering how she learned to tattoo, you could say Pierce is used to hard work. \u003c/p>\n\u003cfigure id=\"attachment_13878431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Couch_-800x500.jpg\" alt=\"Emma Pierce at her apartment in Santa Rosa. The 23-year-old tattoo artist has been out of work for weeks due to the coronavirus shutdown.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13878431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce at her apartment in Santa Rosa. The 23-year-old tattoo artist has been out of work for weeks due to the coronavirus shutdown. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Getting Her Start\u003c/h2>\n\u003cp>Pierce was in college when she got her first tattoo, the mention of which evokes an embarrassed “\u003cem>Ooooohhhh, God\u003c/em>” from its owner. “It’s the feminist symbol, with the fist,” she says, sheepishly. “It’s the typical liberal college arts kid thing.”\u003c/p>\n\u003cp>But she was fascinated by tattoos, giving herself a few stick-and-pokes, and hanging around shops. Once she knew she wanted to become a tattoo artist instead of going to Santa Rosa Junior College, she found a mentor willing to take her on as an apprentice at Glass Beetle, right across the street.\u003c/p>\n\u003cp>Most tattoo artists get their start as an apprentice, and it’s not easy: Pierce put in 40 hours a week for a year, and paid $1,400 up front and $200 per month for the experience. \u003c/p>\n\u003cp>“It was hard,” Pierce says. “I was a softie, and that’s not good for a tattoo shop.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pierce heard of other apprenticeships costing $5,000–$10,000, and lasting over two years, but she picked up skills quickly and had a good mentor who was hard on her in all the right ways.\u003c/p>\n\u003cp>[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]“If you’re gonna be a tattoo artist, you have to be able to tell people ‘this is not a good idea’ or ‘this is not gonna work.’ You have to be able to assert yourself and be confident in what you’re saying. And I was not very confident. He did a really good job in hammering out the soft, cushy attitude I had,” Pierce says.\u003c/p>\n\u003cp>During her apprenticeship, to pay the bills, she also worked at a coffee shop from 6am to noon, where she made $12 an hour plus tips. Then she would go to the tattoo shop for another eight to ten hours of tattooing and clean-up. \u003c/p>\n\u003cp>“I had it pretty easy, compared to how it used to be,” Pierce says of her apprenticeship. “It used to be abuse, like, straight-up hazing. I didn’t have it that bad.”\u003c/p>\n\u003cfigure id=\"attachment_13878434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Gate_-800x533.jpg\" alt=\"Emma Pierce closes the gates at the tattoo shop.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13878434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce closes the gates at the tattoo shop. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Next?\u003c/h2>\n\u003cp>Nowadays, with the shop closed, Pierce has cut back on as much spending as possible. In her under-decorated new apartment are houseplants, cooking utensils and manga books, evidence of her modest hobbies during the shelter-in-place order. When she’s not watching anime or talking to her mom, she draws at the kitchen counter, an ad hoc work station. \u003c/p>\n\u003cp>Her boyfriend is still working at a local winery, where he makes $20 an hour; since the tasting room he tended is now closed, he’s helping out in the warehouse. Pierce still hasn’t received any unemployment, but she’s been notified she’ll get $450 a week, the state maximum. Hopefully, the extra $600 promised by Governor Newsom will be part of it. The federal stimulus check of $1,200 feels like a distant thought. “It’s going to be interesting not having income,” Pierce says. \u003c/p>\n\u003cp>As someone used to working hard, Pierce feels a little rootless. \u003c/p>\n\u003cp>“I haven’t been online shopping. I haven’t been going out,” she says. “I’m just not spending money, because I’m just sitting at home doing nothing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Emma Pierce had already self-quarantined for two weeks when her tattoo shop closed and income dried up.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emma Pierce was driving home from the airport when she got the call from her tattoo shop.\u003c/p>\n\u003cp>Since she’d been on vacation in Japan for three weeks, the shop owner explained, and since this new thing called the coronavirus seemed pretty dangerous, some coworkers had expressed concern about her returning to work after traveling abroad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Rent: $1,400/mo.\u003c/li>\n\u003cli>Car Payment and Insurance: $250/mo.\u003c/li>\n\u003cli>Groceries: $100-$200/mo.\u003c/li>\n\u003cli>Average Income Before Shutdown: $700–$900/wk.\u003c/li>\n\u003cli>Unemployment Compensation After Shutdown: $450/wk.\u003c/li>\n\u003cli>Still Waiting On: $1,200 Federal Stimulus Check\u003c/li>\n\u003c/ul>\n\u003cp>\u003cbr>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pierce agreed to self-quarantine at home for the next 14 days, foregoing income. When she finally returned to work, after paying for a vacation and having no income for over a month, she got a week of work in before the shelter-in-place order closed the shop entirely. \u003c/p>\n\u003cp>Now, sitting on the couch in a $1,400-a-month, 600-square-foot Santa Rosa apartment she just started renting with her boyfriend, Pierce doesn’t know when she’ll be able to work again.\u003c/p>\n\u003cp>Along with over 6 million others in the United States, she’s filed for unemployment. And she considers herself lucky to have a cushion of money saved up—about $10,000.\u003c/p>\n\u003cp>“Which is not that much,” she says. “But I feel like for someone my age, at 23, it’s a lot.”\u003c/p>\n\u003cp>Hopefully it will be enough. Pierce has no idea when the shop will reopen. When it does, “I think it’ll be slow, especially walk-ins,” she says, aware that people may be cautious of skin-to-skin contact with strangers. “Everything will be different. It’s worrying.”\u003c/p>\n\u003cfigure id=\"attachment_13878432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Countertop-800x534.jpg\" alt=\"Emma Pierce draws at her kitchen counter in Santa Rosa.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce draws at her kitchen counter in Santa Rosa. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Income and Expenses\u003c/h2>\n\u003cp>It’s a marked change from the upward trajectory of the young tattoo artist’s career. Pierce had been consistently booked out two-to-three weeks in advance at Santa Rosa’s Glass Beetle Tattoo, bringing in an average of $700–$900 a week.\u003c/p>\n\u003cp>“So sometimes as much as $4,000 a month. And that’s after taxes, plus cash,” she says.\u003c/p>\n\u003cp>Pierce also benefited from changes at the shop brought on by AB5, the California assembly bill meant to reclassify gig workers and independent contractors as employees. While other rent-your-station businesses like hair salons, barber shops and tattoo parlors struggled with the bill’s byzantine restrictions, the owner of Pierce’s shop simply put everyone on payroll and proposed a commission model. For every tattoo Pierce does, the shop gets 40%, and she gets 60% plus tips. \u003c/p>\n\u003cp>Often, like many restaurant servers, Pierce lives off those cash tips for day-to-day expenses. She and her boyfriend spend $100–$200 a week on groceries (a book laying on her shelf is titled \u003cem>101 Things to Do With Ramen Noodles\u003c/em>). Between her insurance and loan payment on her 2017 Mistubishi Mirage, she spends $250 a month on the car. A therapist helps with the stress of work (“I recommend it literally for everyone,” Pierce says); she pays on a sliding scale at $40–$60 a week. \u003c/p>\n\u003cfigure id=\"attachment_13878433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Station-800x534.jpg\" alt=\"Emma Pierce at her station, which has been empty since the shutdown closed the tattoo shop where she works.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce at her station, which has been empty since the shutdown closed the tattoo shop where she works. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pierce saves money in other ways. She bought a used iPad Pro for $500 on eBay (about half the cost of a new one), which she uses to draw tattoos for appointments. When she’s working, she has enough bookings that she doesn’t need to pay for Instagram ads, and the shop owner buys communal supplies like needles, tubes, inks, gloves and paper towels. And she’s still covered under her mom’s health insurance plan for another month.\u003c/p>\n\u003cp>Her most emphatic advice, for young people especially, is to set up a direct deposit into a savings account. She sends 10% of each paycheck into her savings automatically. “It’s really helpful, you don’t have to even think about it, and then you have a little bit in savings after a while,” she says.\u003c/p>\n\u003cp>She does note that she was privileged to live with her mom until a month ago, and to not have experienced much financial hardship. But she also works hard, coming home from work at 8 or 9pm and then drawing the next day’s appointments until midnight. \u003c/p>\n\u003cp>Considering how she learned to tattoo, you could say Pierce is used to hard work. \u003c/p>\n\u003cfigure id=\"attachment_13878431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Couch_-800x500.jpg\" alt=\"Emma Pierce at her apartment in Santa Rosa. The 23-year-old tattoo artist has been out of work for weeks due to the coronavirus shutdown.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13878431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce at her apartment in Santa Rosa. The 23-year-old tattoo artist has been out of work for weeks due to the coronavirus shutdown. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Getting Her Start\u003c/h2>\n\u003cp>Pierce was in college when she got her first tattoo, the mention of which evokes an embarrassed “\u003cem>Ooooohhhh, God\u003c/em>” from its owner. “It’s the feminist symbol, with the fist,” she says, sheepishly. “It’s the typical liberal college arts kid thing.”\u003c/p>\n\u003cp>But she was fascinated by tattoos, giving herself a few stick-and-pokes, and hanging around shops. Once she knew she wanted to become a tattoo artist instead of going to Santa Rosa Junior College, she found a mentor willing to take her on as an apprentice at Glass Beetle, right across the street.\u003c/p>\n\u003cp>Most tattoo artists get their start as an apprentice, and it’s not easy: Pierce put in 40 hours a week for a year, and paid $1,400 up front and $200 per month for the experience. \u003c/p>\n\u003cp>“It was hard,” Pierce says. “I was a softie, and that’s not good for a tattoo shop.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pierce heard of other apprenticeships costing $5,000–$10,000, and lasting over two years, but she picked up skills quickly and had a good mentor who was hard on her in all the right ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“If you’re gonna be a tattoo artist, you have to be able to tell people ‘this is not a good idea’ or ‘this is not gonna work.’ You have to be able to assert yourself and be confident in what you’re saying. And I was not very confident. He did a really good job in hammering out the soft, cushy attitude I had,” Pierce says.\u003c/p>\n\u003cp>During her apprenticeship, to pay the bills, she also worked at a coffee shop from 6am to noon, where she made $12 an hour plus tips. Then she would go to the tattoo shop for another eight to ten hours of tattooing and clean-up. \u003c/p>\n\u003cp>“I had it pretty easy, compared to how it used to be,” Pierce says of her apprenticeship. “It used to be abuse, like, straight-up hazing. I didn’t have it that bad.”\u003c/p>\n\u003cfigure id=\"attachment_13878434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Gate_-800x533.jpg\" alt=\"Emma Pierce closes the gates at the tattoo shop.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13878434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce closes the gates at the tattoo shop. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Next?\u003c/h2>\n\u003cp>Nowadays, with the shop closed, Pierce has cut back on as much spending as possible. In her under-decorated new apartment are houseplants, cooking utensils and manga books, evidence of her modest hobbies during the shelter-in-place order. When she’s not watching anime or talking to her mom, she draws at the kitchen counter, an ad hoc work station. \u003c/p>\n\u003cp>Her boyfriend is still working at a local winery, where he makes $20 an hour; since the tasting room he tended is now closed, he’s helping out in the warehouse. Pierce still hasn’t received any unemployment, but she’s been notified she’ll get $450 a week, the state maximum. Hopefully, the extra $600 promised by Governor Newsom will be part of it. The federal stimulus check of $1,200 feels like a distant thought. “It’s going to be interesting not having income,” Pierce says. \u003c/p>\n\u003cp>As someone used to working hard, Pierce feels a little rootless. \u003c/p>\n\u003cp>“I haven’t been online shopping. I haven’t been going out,” she says. “I’m just not spending money, because I’m just sitting at home doing nothing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Tim Gunn and Heidi Klum are Together Again in 'Making the Cut'",
"headTitle": "Tim Gunn and Heidi Klum are Together Again in ‘Making the Cut’ | KQED",
"content": "\u003cp>When Tim Gunn and Heidi Klum left \u003cem>Project Runway\u003c/em>, it wasn’t clear whether it could survive without them, or whether they could succeed on a different show. We know the answer to the first question, at least creatively: The new incarnation of \u003cem>Runway\u003c/em>, starring Christian Siriano and Karlie Kloss, is better than most of us expected, and Siriano in particular has carved out a very different mentor role than Gunn’s that’s satisfying in new ways.\u003c/p>\n\u003cp>We’ve now arrived at the other half of the question: Can Tim and Heidi make a show that’s not \u003cem>Runway\u003c/em>? The first episodes of \u003cem>Making The Cut \u003c/em>are streaming now on Amazon Prime Video, and the verdict is … maybe?\u003c/p>\n\u003cp>There are a couple of things that are very different right off the top if you’re comparing the new show with the old. Where \u003cem>Runway \u003c/em>had a kind of chirpy relentlessness, \u003cem>Making The Cut \u003c/em>is going for more of a chill and glamorous vibe, still a competition, but with the vibe of a high-end travel show. That’s not only true because of the locations (New York and Paris, to start). It’s true because the whole show has a kind of Instagram-influencer vibe, with a constant hum of forgettable music that sounds like it comes from an ad for yoga pants.\u003c/p>\n\u003cp>There are also some format differences that seem likely to have originated with the specific hope to set the show apart from \u003cem>Runway\u003c/em>; most notably, it doesn’t always eliminate one person per week. It can be more. It could be nobody. This can help a little bit with the problem that comes up on a lot of judged competitions where somebody is constantly second-worst but never quite worst. Here, such a person would probably eventually be bounced, even if they didn’t do the worst job in that challenge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y41irC4jq30\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The judging panel (which includes Naomi Campbell and Nicole Richie) also follows a muddled format where they’ll call up each designer to explain what they’ve made, and then there’s a moment—sometimes this is hard to follow—where Heidi asks whether any of the judges have “changed their minds” from the way they’d been planning to vote. It seems like you’re supposed to feel like the panel discussion is higher stakes, because the designers have a chance to save themselves. But that seems to be true on \u003cem>Runway \u003c/em>too, which means they’ve just sort of complicated what should be simple.\u003c/p>\n\u003cp>The best of the changes that \u003cem>Making The Cut \u003c/em>has instituted is that the contestants have help from seamstresses, who sneak in at night like shoemaker’s elves and do some of the basic sewing. That means it’s less likely—not impossible, but less likely—that the designers will be judged on whether they can physically construct a dress in a very short time. There aren’t as many unfinished hems or terrible seams, and that means the focus is more on the actual design. (This is also the case over on Netflix’s \u003cem>Next In Fashion\u003c/em>.) Similarly, the challenges are far looser and more thematic, rather than weird stunts like “design new outfits for the servers at Susan Sarandon’s ping-pong club.” (An actual \u003cem>Project Runway \u003c/em>challenge.)\u003c/p>\n\u003cp>The worst of the changes is that Amazon looms over the show, not only as the streamer showing it, but as a seller of goods. The opportunity to sell your clothes on Amazon is dangled as part of the prize, and from time to time, the designers are reminded—and they remind the audience—how meaningful that is. It’s only fair to note that \u003cem>Runway \u003c/em>itself has a history with product placement that borders on parody; that is a show that once forced people to design clothes based on Yoplait frozen yogurt flavors. So at least perhaps here, they’ve narrowed it down to just one corporate entity?\u003c/p>\n\u003cp>There is an upside to the consumerism angle, though, which is that there’s a more explicit understanding that mass-market clothing sales and runway fashion are very different. In most challenges, you’ll see each designer make both a “runway look” and an “accessible look.” That’s good. That’s an acknowledgment that judging clothing both by “is this wildly innovative enough for a runway show?” and “would this sell to large numbers of regular people?” is an inherently flawed undertaking. Here, they can talk about the runway look for its freshness and excitement, and they can talk about the related accessible look for its consumer-friendly qualities—its “wearability,” so to speak. It’s a smart shift, even if the execution of it isn’t always totally coherent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure \u003cem>Making The Cut \u003c/em>is a strong competitor to \u003cem>Runway \u003c/em>when it comes to frantic competition and personality clashes; I’m not sure it wants to be. It is, however, a more calm and measured look at more high-fashion designers, and there are those for whom that will be all they need—alongside Tim and Heidi, of course.\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=Tim+Gunn+And+Heidi+Klum+Are+Together+Again+In+%27Making+The+Cut%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Tim Gunn and Heidi Klum's new Amazon show has a very different vibe from 'Project Runway', but you'll see a lot of fashion and a lot of pretty sights. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Tim Gunn and Heidi Klum left \u003cem>Project Runway\u003c/em>, it wasn’t clear whether it could survive without them, or whether they could succeed on a different show. We know the answer to the first question, at least creatively: The new incarnation of \u003cem>Runway\u003c/em>, starring Christian Siriano and Karlie Kloss, is better than most of us expected, and Siriano in particular has carved out a very different mentor role than Gunn’s that’s satisfying in new ways.\u003c/p>\n\u003cp>We’ve now arrived at the other half of the question: Can Tim and Heidi make a show that’s not \u003cem>Runway\u003c/em>? The first episodes of \u003cem>Making The Cut \u003c/em>are streaming now on Amazon Prime Video, and the verdict is … maybe?\u003c/p>\n\u003cp>There are a couple of things that are very different right off the top if you’re comparing the new show with the old. Where \u003cem>Runway \u003c/em>had a kind of chirpy relentlessness, \u003cem>Making The Cut \u003c/em>is going for more of a chill and glamorous vibe, still a competition, but with the vibe of a high-end travel show. That’s not only true because of the locations (New York and Paris, to start). It’s true because the whole show has a kind of Instagram-influencer vibe, with a constant hum of forgettable music that sounds like it comes from an ad for yoga pants.\u003c/p>\n\u003cp>There are also some format differences that seem likely to have originated with the specific hope to set the show apart from \u003cem>Runway\u003c/em>; most notably, it doesn’t always eliminate one person per week. It can be more. It could be nobody. This can help a little bit with the problem that comes up on a lot of judged competitions where somebody is constantly second-worst but never quite worst. Here, such a person would probably eventually be bounced, even if they didn’t do the worst job in that challenge.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Y41irC4jq30'\n title='//www.youtube.com/embed/Y41irC4jq30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The judging panel (which includes Naomi Campbell and Nicole Richie) also follows a muddled format where they’ll call up each designer to explain what they’ve made, and then there’s a moment—sometimes this is hard to follow—where Heidi asks whether any of the judges have “changed their minds” from the way they’d been planning to vote. It seems like you’re supposed to feel like the panel discussion is higher stakes, because the designers have a chance to save themselves. But that seems to be true on \u003cem>Runway \u003c/em>too, which means they’ve just sort of complicated what should be simple.\u003c/p>\n\u003cp>The best of the changes that \u003cem>Making The Cut \u003c/em>has instituted is that the contestants have help from seamstresses, who sneak in at night like shoemaker’s elves and do some of the basic sewing. That means it’s less likely—not impossible, but less likely—that the designers will be judged on whether they can physically construct a dress in a very short time. There aren’t as many unfinished hems or terrible seams, and that means the focus is more on the actual design. (This is also the case over on Netflix’s \u003cem>Next In Fashion\u003c/em>.) Similarly, the challenges are far looser and more thematic, rather than weird stunts like “design new outfits for the servers at Susan Sarandon’s ping-pong club.” (An actual \u003cem>Project Runway \u003c/em>challenge.)\u003c/p>\n\u003cp>The worst of the changes is that Amazon looms over the show, not only as the streamer showing it, but as a seller of goods. The opportunity to sell your clothes on Amazon is dangled as part of the prize, and from time to time, the designers are reminded—and they remind the audience—how meaningful that is. It’s only fair to note that \u003cem>Runway \u003c/em>itself has a history with product placement that borders on parody; that is a show that once forced people to design clothes based on Yoplait frozen yogurt flavors. So at least perhaps here, they’ve narrowed it down to just one corporate entity?\u003c/p>\n\u003cp>There is an upside to the consumerism angle, though, which is that there’s a more explicit understanding that mass-market clothing sales and runway fashion are very different. In most challenges, you’ll see each designer make both a “runway look” and an “accessible look.” That’s good. That’s an acknowledgment that judging clothing both by “is this wildly innovative enough for a runway show?” and “would this sell to large numbers of regular people?” is an inherently flawed undertaking. Here, they can talk about the runway look for its freshness and excitement, and they can talk about the related accessible look for its consumer-friendly qualities—its “wearability,” so to speak. It’s a smart shift, even if the execution of it isn’t always totally coherent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m not sure \u003cem>Making The Cut \u003c/em>is a strong competitor to \u003cem>Runway \u003c/em>when it comes to frantic competition and personality clashes; I’m not sure it wants to be. It is, however, a more calm and measured look at more high-fashion designers, and there are those for whom that will be all they need—alongside Tim and Heidi, of course.\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=Tim+Gunn+And+Heidi+Klum+Are+Together+Again+In+%27Making+The+Cut%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "canceled-by-coronavirus-a-list-of-bay-area-concerts-cultural-events-museums-more",
"title": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More",
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"headTitle": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More | KQED",
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"content": "\u003cp>Updated: March 17, 6:30am\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Note\u003c/strong>: \u003cstrong>This list is no longer being updated as of March 17\u003c/strong>. Because of new restrictions and shelter-in-place orders, it is safe to assume that every concert, performance, museum or cultural event in the Bay Area has been canceled or closed for the time being.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 17, a \u003ca href=\"https://www.kqed.org/news/11806988/sheltering-in-place-what-you-need-to-know\" rel=\"noopener noreferrer\" target=\"_blank\">shelter-in-place order took effect for six Bay Area counties\u003c/a>, requiring people to stay at home and leave only for essential activities.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 16, the CDC \u003ca href=\"https://www.kqed.org/arts/13876716/cdc-recommends-against-gatherings-of-50-or-more-states-close-bars-restaurants\" rel=\"noopener noreferrer\" target=\"_blank\">warned against gatherings of 50 people or more\u003c/a>, including “conferences, festivals, parades, concerts, sporting events, weddings, and other types of assemblies.” Governor Gavin Newsom also \u003ca href=\"https://www.kqed.org/news/11806871/newsom-calls-for-closure-of-all-bars-in-an-effort-to-increase-social-distancing\" rel=\"noopener noreferrer\" target=\"_blank\">called for the closure\u003c/a> of all bars, wineries, nightclubs and breweries.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Stay up to date on full coronavirus coverage \u003ca href=\"https://www.kqed.org/coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>Concern over the spread of the coronavirus has caused the cancellation of many concerts, performances and other cultural events in the Bay Area.[aside postid=\"science_1957877\"]\u003c/p>\n\u003cp>Below, see a list of cultural events, concerts and performances canceled or postponed due to coronavirus concerns. Many venues have enacted flexible refund and ticket-exchange policies. Click through the venue or event name for details, and for updated information about reopening.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"https://www.act-sf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>American Conservatory Theater\u003c/strong>\u003c/a>\u003cbr>\nAll performances of ‘Toni Stone’ (Geary Theater) and ‘Gloria’ (Strand Theater) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">‘Ain’t I a Woman’\u003c/a>\u003c/strong> (March 15)\u003cbr>\nPerformance by Core Ensemble canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ana Gabriel\u003c/a>\u003c/strong>\u003cbr>\nMarch 19 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Andre Rieu\u003c/a>\u003c/strong>\u003cbr>\nMarch 22 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://asianart.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/athletics\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland A’s\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.augusthallsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">August Hall\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 27 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bampfa.org/news/new-info-bampfa-update-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/strong>\u003cbr>\nAll film screenings, tours and public programs canceled through March 29\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.baybookfest.org/2020cancellation/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Book Festival\u003c/a>\u003c/strong> (May 2 and 3)\u003cbr>\nPostponed to May 1-2, 2021\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gradlectures.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Graduate Lectures\u003c/a>\u003c/strong>\u003cbr>\nAll lectures canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.berkeleyrep.org/?gclsrc=aw.ds&gclid=Cj0KCQjwu6fzBRC6ARIsAJUwa2SSGnQum2eM6ybkE8IFauSDY_ugwioEz44pG-2t0TkGpUXzvuyXNocaAlwYEALw_wcB&gclsrc=aw.ds\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of \u003cem>Culture Clash (Still) in America\u003c/em> canceled; \u003cem>School Girls; Or, The African Mean Girls Play\u003c/em>, originally slated to start on March 19, on hiatus through April 5\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bill Graham Civic Auditorium\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/venues/bing-concert-hall\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Bing Concert Hall\u003c/strong>\u003c/a>\u003cbr>\nMost shows canceled through April 15, including Cecile McLorin Salvant (March 13)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.calacademy.org/a-message-to-our-academy-community-on-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">California Academy of Sciences\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" rel=\"noopener noreferrer\" target=\"_blank\">California Historical Society\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cantor Arts Center and Anderson Collection\u003c/strong> \u003c/a>\u003cbr>\nClosed to the public through April 15\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.catchlight.io/\" target=\"_blank\" rel=\"noopener noreferrer\">CatchLight Visual Storytelling Summit\u003c/a>\u003c/strong> (May 17–18)\u003cbr>\nPostponed to late October 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.chasecenter.com/news/5h4k5TxZF2QdDYpa6MTNLa\" rel=\"noopener noreferrer\" target=\"_blank\">Celine Dion\u003c/a>\u003c/strong> (March 12)\u003cbr>\nConcert at Chase Center postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://centerfornewmusic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Center for New Music\u003c/a>\u003c/strong>\u003cbr>\nAll public events suspended through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">Chase Center\u003c/a>\u003c/strong>\u003cbr>\nNBA season postponed, Warriors games off; all concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfcherryblossom.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Cherry Blossom Festival, Japantown SF\u003c/a>\u003c/strong> (April 11-12 and April 17-19)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.cinequest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cinequest Film Festival\u003c/strong>\u003c/a> (March 3–15)\u003cbr>\nMarch 8-15 events postponed to August 16–30\u003c/p>\n\u003cp>\u003ca href=\"http://circuscenter.org/blog/2020/03/07/covid-19--march-13-14-cabaret-cancelled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Circus Center Cabaret\u003c/strong>\u003c/a> (March 13_14)\u003cbr>\nCanceled; looking to reschedule\u003c/p>\n\u003cp>\u003ca href=\"https://www.cirquedusoleil.com/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Cirque du Soleil: Axel\u003c/strong>\u003c/a> (March 24-28)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener noreferrer\">City Arts & Lectures\u003c/a>\u003c/strong>\u003cbr>\nCertain scheduled events to be held with no audience and livestreamed: Anna Wiener (March 12), Peggy Orenstein (March 19), and Robert Reich (March 23)\u003c/p>\n\u003cp>\u003ca href=\"https://www.commonwealthclub.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Commonwealth Club\u003c/strong>\u003c/a>\u003cbr>\nAll in-person events canceled through March 22 for San Francisco, Marin County and Silicon Valley\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>\u003cbr>\nAll public programs and tours canceled through March 22; museum remains open\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CounterPulse\u003c/a>\u003c/strong>\u003cbr>\nAll performances and public events through May 31 canceled or postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/d41d8cd9/2nd-annual-daly-city-rock-roll-flea-market/2391757860910159/\" target=\"_blank\" rel=\"noopener noreferrer\">Daly City Rock & Roll Flea Market\u003c/a>\u003c/strong> (March 15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/AroundTown\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dance Downtown’ at ODC\u003c/a>\u003c/strong>\u003cbr>\nMarch 27 gala canceled; all Spring performances postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://deyoung.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">de Young Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theexit.org/\" rel=\"noopener noreferrer\" target=\"_blank\">EXIT Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March, including Burlesque Extravaganza (March 18–21)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.exploratorium.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">The Exploratorium\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through the end of March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.feinsteinssf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Feinstein’s at the Nikko\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through April 6\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://thefillmore.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Fillmore\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 18 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://thefoxoakland.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater, Oakland\u003c/a>\u003c/strong>\u003cbr>\nAll concerts canceled through March 30, including Wilco, Melanie Martinez, Ilana Glazer, Third Eye Blind and others\u003c/p>\n\u003cp>\u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Game Developers Conference\u003c/strong>\u003c/a> (March 16–20)\u003cbr>\nPostponed; working to reschedule for August 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/giants\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Giants\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003ca href=\"https://www.goldengatepark150.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Golden Gate Park 150th Anniversary Celebration\u003c/strong>\u003c/a> (April 4)\u003cbr>\nPostponed; to be rescheduled for a later date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://goldengatepark.com/golden-gate-park-senior-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Gate Park Senior Center\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 23\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gmc.sonoma.edu/covid-19-update/\" rel=\"noopener noreferrer\" target=\"_blank\">Green Music Center\u003c/a>\u003c/strong>\u003cbr>\nAll performances through April 11 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Gucci Cruise Fashion Show\u003c/strong>\u003c/a> (May 18)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘Hamilton’ at the Orpheum Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.harrypottertheplay.com/san-francisco/coronavirus-update/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Harry Potter and the Cursed Child’\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://www.shipyardartists.com/open-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hunter’s Point Shipyard Artists\u003c/strong>\u003c/a>\u003cbr>\nAnnual spring open studios rescheduled to May 16–17\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcinematheque.org/screenings/i-hate-the-internet-techno-dystopian-malaise-and-visions-of-rebellion/\" target=\"_blank\" rel=\"noopener noreferrer\">‘I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion’\u003c/a>\u003c/strong> (March 12)\u003cbr>\nPostponed; to be rescheduled at future date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sanjosetheaters.org/event/the-illusionists-live-from-broadway/\" target=\"_blank\" rel=\"noopener noreferrer\">The Illusionists – Live From Broadway\u003c/a>\u003c/strong> (March 24 and 25)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Independent\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>International Ocean Film Festival\u003c/strong>\u003c/a> (March 12–15)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://iccnc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Islamic Cultural Center of Northern California\u003c/a>\u003c/strong>\u003cbr>\nAll public events canceled through March 23, including Nowruz celebration on March 14\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.jcceastbay.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Jewish Community Center East Bay\u003c/a> \u003c/strong>\u003cbr>\nAll large events (50 people or more) though March 27 canceled or rescheduled\u003c/p>\n\u003cp>\u003ca href=\"https://www.jccsf.org/staying-healthy-together/\">\u003cstrong>San Francisco Jewish Community Center\u003c/strong> \u003c/a>\u003cbr>\nPurim Festival (March 8) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">Knuth Music Hall, SF State\u003c/a>\u003c/strong>\u003cbr>\nPerformances on March 16, 18 and 19 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘The Last Ship’ at the Golden Gate Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"http://www.leftcoastensemble.org/fairytale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Left Coast Chamber Ensemble\u003c/strong>\u003c/a>\u003cbr>\n‘Fairytale Pieces’ (March 8 and 9) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://legionofhonor.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Legion of Honor\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lesbianswhotech/photos/a.656630677683654/3341946979151997/?type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a>\u003c/strong> (April 23–25)\u003cbr>\nRescheduled for August, 2020\u003c/p>\n\u003cp>\u003ca href=\"http://www.lindyinthepark.com/\">\u003cstrong>Lindy in the Park\u003c/strong>\u003c/a>\u003cbr>\nMarch 8 and 15 events canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.lhtsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lorraine Hansberry Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Intimate Apparel’ (March 13–29) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://lutherburbankcenter.org/healthandsafetyupdate/\" rel=\"noopener noreferrer\" target=\"_blank\">Luther Burbank Center\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March canceled or postponed, including Wilco, Brittany Howard, Laura Dern and more\u003c/p>\n\u003cp>\u003ca href=\"https://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>MACLA\u003c/strong>\u003c/a>\u003cbr>\nAll public programs postponed, including \u003cem>We Have Iré\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Co.\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘Love’ and ‘Natural Shocks’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.aztecadancers.com/mexica-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Mexica New Year Ceremony & Celebration San Jose\u003c/a>\u003c/strong> (March 14)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>New Conservatory Theatre Center\u003c/strong>\u003c/a>\u003cbr>\nAll performances, including \u003cem>The Book of Mountains and Seas\u003c/em>, canceled through March 21\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The New Parish\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a>\u003c/strong>\u003cbr>\nMuseum closed to the public through March 27; 50th Anniversary Gala (March 14) canceled as well\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/tripletake\" target=\"_blank\" rel=\"noopener noreferrer\">ODC/RAWDance\u003c/a>\u003c/strong>\u003cbr>\n‘Triple Take’ (March 12–15) postponed to later this year; exact date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://offthegrid.com/blog/supporting-local-communities-through-implementation-of-covid-19-prevention-best-practices/\" target=\"_blank\" rel=\"noopener noreferrer\">Off the Grid\u003c/a>\u003c/strong>\u003cbr>\nEvent at Fort Mason on March 13 and 20 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘The Magic Flute’ (April 18–May 3) canceled\u003c/p>\n\u003cp>\u003ca href=\"http://www.cspaloalto.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Palo Alto Christian Science Church\u003c/strong>\u003c/a>\u003cbr>\nJames Welch concert (March 8) postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://pearljam.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">Pearl Jam\u003c/a>\u003c/strong> (April 18–19)\u003cbr>\nEntire tour canceled, including April 18–19 dates at Oakland Arena\u003c/p>\n\u003cp>\u003ca href=\"https://peninsulasymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Peninsula Symphony\u003c/strong>\u003c/a>\u003cbr>\nMarch 13 and 14 ‘Violins of Hope’ concerts postponed; to be rescheduled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://philharmonia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Philharmonia Baroque Orchestra\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Romantic Reflections’ (March 11-15) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/photo.php?fbid=10157788026750552&set=a.211581100551&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rebecca Solnit\u003c/strong>\u003c/a>\u003cbr>\nAll stops on book tour through March 25 canceled, including at Booksmith SF (March 16)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/events/94291513455\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls Trivia Happy Hour with KQED\u003c/a>\u003c/strong> (March 16)\u003cbr>\nPostponed to future date TBA\u003c/p>\n\u003cp>\u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Reboot Ideas Festival\u003c/strong>\u003c/a> (March 26–29)\u003cbr>\nPostponed; working to reschedule\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Theater\u003c/a>\u003c/strong>\u003cbr>\nCLosed to the public and all screenings canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://salesforcetransitcenter.com/events/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Salesforce Park\u003c/strong>\u003c/a>\u003cbr>\nAll group activities in the park suspended; park itself remains open\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfballet.org/a-message-regarding-the-covid-19-virus/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Ballet\u003c/strong>\u003c/a>\u003cbr>\nComplete run of \u003cem>A Midsummer Night’s Dream\u003c/em> (March 7–15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfbcgala.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Boys Chorus\u003c/a>\u003c/strong>\u003cbr>\nAnnual gala (March 14) rescheduled to May 16\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfca.org/2019-2020-season/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Choral Artists\u003c/a>\u003c/strong>\u003cbr>\n‘Joyful Voices, Stomping Feet’ performances canceled for March 8 (SF), March 14 (Palo Alto) and March 15 (Oakland)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfgmc.org/welcome/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> \u003c/strong>\u003cbr>\nPerformances of ‘Penned in Pink’ (March 26 and 28) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfneofuturists.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Neo-Futurists\u003c/a>\u003c/strong>\u003cbr>\nPerformances of \u003cem>The Infinite Wrench\u003c/em> (March 13 and 14) and \u003cem>Infinite Bitch\u003c/em> (March 19–21) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Public Library\u003c/strong>\u003c/a>\u003cbr>\nAll branches closed and programs canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfrecpark.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Recreation and Parks\u003c/a>\u003c/strong>\u003cbr>\nAll senior programming canceled through March 21; lawn bowling and summer resource fair canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Symphony\u003c/strong>\u003c/a>\u003cbr>\nConcerts canceled through April 6, including James Galway, Michael Tilson Thomas and more; tour of New York and Europe (March 17–April 7) also canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SaintPatricksDaySF/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco St. Patrick’s Day Parade\u003c/strong>\u003c/a> (March 14)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SJChamberOrchestra/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Chamber Orchestra\u003c/strong>\u003c/a>\u003cbr>\nMarch 29 ‘Inferno’ concert canceled; to be rescheduled at later date\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Children’s Discovery Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.nhl.com/sharks\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Sharks\u003c/a>\u003c/strong>\u003cbr>\nNHL season put on pause; all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n‘Showcasing Contemporary Women’ program (March 21-23) canceled; Youth Ensemble concert (March 15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sffilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SFFILM\u003c/a>\u003c/strong> (April 8-21)\u003cbr>\nEntire 2020 festival canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfjazz.org/visit/health/\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ\u003c/a>\u003c/strong>\u003cbr>\nAll concerts and programming through April 5 postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/calendar/all/all/all/all/all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Live\u003c/strong>\u003c/a>\u003cbr>\nAll large-scale concerts canceled through April 15\u003c/p>\n\u003cp>\u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll movie screenings temporarily suspended\u003c/p>\n\u003cp>\u003ca href=\"https://www.sundaystreetssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sunday Streets: Mission District\u003c/strong>\u003c/a> (March 8)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tactile Dome at the Exploratorium\u003c/strong>\u003c/a>\u003cbr>\nExhibit closed indefinitely\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theatreworks.org/covid19/\" rel=\"noopener noreferrer\" target=\"_blank\">TheatreWorks Silicon Valley\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘They Promised Her the Moon’ and ‘Ragtime’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tonyrobbins.com/news/upw-san-jose-is-postponed/\" target=\"_blank\" rel=\"noopener noreferrer\">UPW San Jose with Tony Robbins\u003c/a>\u003c/strong> (March 12–15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/vogue\" rel=\"noopener noreferrer\" target=\"_blank\">Vogue Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003ca href=\"https://www.waltdisney.org/visitor-update\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Walt Disney Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 20\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Warriors\u003c/strong>\u003c/a>\u003cbr>\nNBA season put on pause, all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute\u003c/a>\u003c/strong>\u003cbr>\nHồng-Ân Trương talk (March 12) and Astria Suparak’s illustrated lecture (March 19) postponed until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://winchestermysteryhouse.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Winchester Mystery House\u003c/a>\u003c/strong>\u003cbr>\nClosed through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://womensoundoff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Women Sound Off\u003c/a>\u003c/strong> (slated for April 3–5)\u003cbr>\nPostponed to October 2–4\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blog.ycombinator.com/yc-w20-online-demo-day-now-on-march-16/\" target=\"_blank\" rel=\"noopener noreferrer\">Y Combinator Demo Day\u003c/a>\u003c/strong> (March 23)\u003cbr>\nMoved to March 16, now entirely online\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ybca.org/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a>\u003c/strong>\u003cbr>\nAll shows will have reduced capacity through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zspace.org/covid-19prep\" rel=\"noopener noreferrer\" target=\"_blank\">Z Space\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zellerbach Hall\u003c/a>\u003c/strong>\u003cbr>\nAll Cal Performances events are still on, but ticketholders may exchange for other dates or request refunds for shows through March 29\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Submit info about canceled events \u003ca href=\"mailto:gmeline@kqed.org?subject=Coronavirus%20Cancelation\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "See which Bay Area events and concerts have been canceled or postponed due to coronavirus concerns.",
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"title": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More | KQED",
"description": "See which Bay Area events and concerts have been canceled or postponed due to coronavirus concerns.",
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"headline": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More",
"datePublished": "2020-03-13T16:00:36-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Updated: March 17, 6:30am\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Note\u003c/strong>: \u003cstrong>This list is no longer being updated as of March 17\u003c/strong>. Because of new restrictions and shelter-in-place orders, it is safe to assume that every concert, performance, museum or cultural event in the Bay Area has been canceled or closed for the time being.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 17, a \u003ca href=\"https://www.kqed.org/news/11806988/sheltering-in-place-what-you-need-to-know\" rel=\"noopener noreferrer\" target=\"_blank\">shelter-in-place order took effect for six Bay Area counties\u003c/a>, requiring people to stay at home and leave only for essential activities.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 16, the CDC \u003ca href=\"https://www.kqed.org/arts/13876716/cdc-recommends-against-gatherings-of-50-or-more-states-close-bars-restaurants\" rel=\"noopener noreferrer\" target=\"_blank\">warned against gatherings of 50 people or more\u003c/a>, including “conferences, festivals, parades, concerts, sporting events, weddings, and other types of assemblies.” Governor Gavin Newsom also \u003ca href=\"https://www.kqed.org/news/11806871/newsom-calls-for-closure-of-all-bars-in-an-effort-to-increase-social-distancing\" rel=\"noopener noreferrer\" target=\"_blank\">called for the closure\u003c/a> of all bars, wineries, nightclubs and breweries.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Stay up to date on full coronavirus coverage \u003ca href=\"https://www.kqed.org/coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>Concern over the spread of the coronavirus has caused the cancellation of many concerts, performances and other cultural events in the Bay Area.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Below, see a list of cultural events, concerts and performances canceled or postponed due to coronavirus concerns. Many venues have enacted flexible refund and ticket-exchange policies. Click through the venue or event name for details, and for updated information about reopening.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"https://www.act-sf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>American Conservatory Theater\u003c/strong>\u003c/a>\u003cbr>\nAll performances of ‘Toni Stone’ (Geary Theater) and ‘Gloria’ (Strand Theater) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">‘Ain’t I a Woman’\u003c/a>\u003c/strong> (March 15)\u003cbr>\nPerformance by Core Ensemble canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ana Gabriel\u003c/a>\u003c/strong>\u003cbr>\nMarch 19 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Andre Rieu\u003c/a>\u003c/strong>\u003cbr>\nMarch 22 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://asianart.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/athletics\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland A’s\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.augusthallsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">August Hall\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 27 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bampfa.org/news/new-info-bampfa-update-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/strong>\u003cbr>\nAll film screenings, tours and public programs canceled through March 29\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.baybookfest.org/2020cancellation/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Book Festival\u003c/a>\u003c/strong> (May 2 and 3)\u003cbr>\nPostponed to May 1-2, 2021\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gradlectures.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Graduate Lectures\u003c/a>\u003c/strong>\u003cbr>\nAll lectures canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.berkeleyrep.org/?gclsrc=aw.ds&gclid=Cj0KCQjwu6fzBRC6ARIsAJUwa2SSGnQum2eM6ybkE8IFauSDY_ugwioEz44pG-2t0TkGpUXzvuyXNocaAlwYEALw_wcB&gclsrc=aw.ds\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of \u003cem>Culture Clash (Still) in America\u003c/em> canceled; \u003cem>School Girls; Or, The African Mean Girls Play\u003c/em>, originally slated to start on March 19, on hiatus through April 5\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bill Graham Civic Auditorium\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/venues/bing-concert-hall\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Bing Concert Hall\u003c/strong>\u003c/a>\u003cbr>\nMost shows canceled through April 15, including Cecile McLorin Salvant (March 13)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.calacademy.org/a-message-to-our-academy-community-on-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">California Academy of Sciences\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" rel=\"noopener noreferrer\" target=\"_blank\">California Historical Society\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cantor Arts Center and Anderson Collection\u003c/strong> \u003c/a>\u003cbr>\nClosed to the public through April 15\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.catchlight.io/\" target=\"_blank\" rel=\"noopener noreferrer\">CatchLight Visual Storytelling Summit\u003c/a>\u003c/strong> (May 17–18)\u003cbr>\nPostponed to late October 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.chasecenter.com/news/5h4k5TxZF2QdDYpa6MTNLa\" rel=\"noopener noreferrer\" target=\"_blank\">Celine Dion\u003c/a>\u003c/strong> (March 12)\u003cbr>\nConcert at Chase Center postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://centerfornewmusic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Center for New Music\u003c/a>\u003c/strong>\u003cbr>\nAll public events suspended through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">Chase Center\u003c/a>\u003c/strong>\u003cbr>\nNBA season postponed, Warriors games off; all concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfcherryblossom.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Cherry Blossom Festival, Japantown SF\u003c/a>\u003c/strong> (April 11-12 and April 17-19)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.cinequest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cinequest Film Festival\u003c/strong>\u003c/a> (March 3–15)\u003cbr>\nMarch 8-15 events postponed to August 16–30\u003c/p>\n\u003cp>\u003ca href=\"http://circuscenter.org/blog/2020/03/07/covid-19--march-13-14-cabaret-cancelled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Circus Center Cabaret\u003c/strong>\u003c/a> (March 13_14)\u003cbr>\nCanceled; looking to reschedule\u003c/p>\n\u003cp>\u003ca href=\"https://www.cirquedusoleil.com/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Cirque du Soleil: Axel\u003c/strong>\u003c/a> (March 24-28)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener noreferrer\">City Arts & Lectures\u003c/a>\u003c/strong>\u003cbr>\nCertain scheduled events to be held with no audience and livestreamed: Anna Wiener (March 12), Peggy Orenstein (March 19), and Robert Reich (March 23)\u003c/p>\n\u003cp>\u003ca href=\"https://www.commonwealthclub.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Commonwealth Club\u003c/strong>\u003c/a>\u003cbr>\nAll in-person events canceled through March 22 for San Francisco, Marin County and Silicon Valley\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>\u003cbr>\nAll public programs and tours canceled through March 22; museum remains open\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CounterPulse\u003c/a>\u003c/strong>\u003cbr>\nAll performances and public events through May 31 canceled or postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/d41d8cd9/2nd-annual-daly-city-rock-roll-flea-market/2391757860910159/\" target=\"_blank\" rel=\"noopener noreferrer\">Daly City Rock & Roll Flea Market\u003c/a>\u003c/strong> (March 15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/AroundTown\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dance Downtown’ at ODC\u003c/a>\u003c/strong>\u003cbr>\nMarch 27 gala canceled; all Spring performances postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://deyoung.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">de Young Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theexit.org/\" rel=\"noopener noreferrer\" target=\"_blank\">EXIT Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March, including Burlesque Extravaganza (March 18–21)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.exploratorium.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">The Exploratorium\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through the end of March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.feinsteinssf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Feinstein’s at the Nikko\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through April 6\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://thefillmore.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Fillmore\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 18 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://thefoxoakland.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater, Oakland\u003c/a>\u003c/strong>\u003cbr>\nAll concerts canceled through March 30, including Wilco, Melanie Martinez, Ilana Glazer, Third Eye Blind and others\u003c/p>\n\u003cp>\u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Game Developers Conference\u003c/strong>\u003c/a> (March 16–20)\u003cbr>\nPostponed; working to reschedule for August 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/giants\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Giants\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003ca href=\"https://www.goldengatepark150.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Golden Gate Park 150th Anniversary Celebration\u003c/strong>\u003c/a> (April 4)\u003cbr>\nPostponed; to be rescheduled for a later date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://goldengatepark.com/golden-gate-park-senior-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Gate Park Senior Center\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 23\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gmc.sonoma.edu/covid-19-update/\" rel=\"noopener noreferrer\" target=\"_blank\">Green Music Center\u003c/a>\u003c/strong>\u003cbr>\nAll performances through April 11 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Gucci Cruise Fashion Show\u003c/strong>\u003c/a> (May 18)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘Hamilton’ at the Orpheum Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.harrypottertheplay.com/san-francisco/coronavirus-update/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Harry Potter and the Cursed Child’\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://www.shipyardartists.com/open-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hunter’s Point Shipyard Artists\u003c/strong>\u003c/a>\u003cbr>\nAnnual spring open studios rescheduled to May 16–17\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcinematheque.org/screenings/i-hate-the-internet-techno-dystopian-malaise-and-visions-of-rebellion/\" target=\"_blank\" rel=\"noopener noreferrer\">‘I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion’\u003c/a>\u003c/strong> (March 12)\u003cbr>\nPostponed; to be rescheduled at future date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sanjosetheaters.org/event/the-illusionists-live-from-broadway/\" target=\"_blank\" rel=\"noopener noreferrer\">The Illusionists – Live From Broadway\u003c/a>\u003c/strong> (March 24 and 25)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Independent\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>International Ocean Film Festival\u003c/strong>\u003c/a> (March 12–15)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://iccnc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Islamic Cultural Center of Northern California\u003c/a>\u003c/strong>\u003cbr>\nAll public events canceled through March 23, including Nowruz celebration on March 14\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.jcceastbay.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Jewish Community Center East Bay\u003c/a> \u003c/strong>\u003cbr>\nAll large events (50 people or more) though March 27 canceled or rescheduled\u003c/p>\n\u003cp>\u003ca href=\"https://www.jccsf.org/staying-healthy-together/\">\u003cstrong>San Francisco Jewish Community Center\u003c/strong> \u003c/a>\u003cbr>\nPurim Festival (March 8) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">Knuth Music Hall, SF State\u003c/a>\u003c/strong>\u003cbr>\nPerformances on March 16, 18 and 19 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘The Last Ship’ at the Golden Gate Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"http://www.leftcoastensemble.org/fairytale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Left Coast Chamber Ensemble\u003c/strong>\u003c/a>\u003cbr>\n‘Fairytale Pieces’ (March 8 and 9) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://legionofhonor.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Legion of Honor\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lesbianswhotech/photos/a.656630677683654/3341946979151997/?type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a>\u003c/strong> (April 23–25)\u003cbr>\nRescheduled for August, 2020\u003c/p>\n\u003cp>\u003ca href=\"http://www.lindyinthepark.com/\">\u003cstrong>Lindy in the Park\u003c/strong>\u003c/a>\u003cbr>\nMarch 8 and 15 events canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.lhtsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lorraine Hansberry Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Intimate Apparel’ (March 13–29) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://lutherburbankcenter.org/healthandsafetyupdate/\" rel=\"noopener noreferrer\" target=\"_blank\">Luther Burbank Center\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March canceled or postponed, including Wilco, Brittany Howard, Laura Dern and more\u003c/p>\n\u003cp>\u003ca href=\"https://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>MACLA\u003c/strong>\u003c/a>\u003cbr>\nAll public programs postponed, including \u003cem>We Have Iré\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Co.\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘Love’ and ‘Natural Shocks’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.aztecadancers.com/mexica-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Mexica New Year Ceremony & Celebration San Jose\u003c/a>\u003c/strong> (March 14)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>New Conservatory Theatre Center\u003c/strong>\u003c/a>\u003cbr>\nAll performances, including \u003cem>The Book of Mountains and Seas\u003c/em>, canceled through March 21\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The New Parish\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a>\u003c/strong>\u003cbr>\nMuseum closed to the public through March 27; 50th Anniversary Gala (March 14) canceled as well\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/tripletake\" target=\"_blank\" rel=\"noopener noreferrer\">ODC/RAWDance\u003c/a>\u003c/strong>\u003cbr>\n‘Triple Take’ (March 12–15) postponed to later this year; exact date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://offthegrid.com/blog/supporting-local-communities-through-implementation-of-covid-19-prevention-best-practices/\" target=\"_blank\" rel=\"noopener noreferrer\">Off the Grid\u003c/a>\u003c/strong>\u003cbr>\nEvent at Fort Mason on March 13 and 20 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘The Magic Flute’ (April 18–May 3) canceled\u003c/p>\n\u003cp>\u003ca href=\"http://www.cspaloalto.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Palo Alto Christian Science Church\u003c/strong>\u003c/a>\u003cbr>\nJames Welch concert (March 8) postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://pearljam.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">Pearl Jam\u003c/a>\u003c/strong> (April 18–19)\u003cbr>\nEntire tour canceled, including April 18–19 dates at Oakland Arena\u003c/p>\n\u003cp>\u003ca href=\"https://peninsulasymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Peninsula Symphony\u003c/strong>\u003c/a>\u003cbr>\nMarch 13 and 14 ‘Violins of Hope’ concerts postponed; to be rescheduled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://philharmonia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Philharmonia Baroque Orchestra\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Romantic Reflections’ (March 11-15) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/photo.php?fbid=10157788026750552&set=a.211581100551&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rebecca Solnit\u003c/strong>\u003c/a>\u003cbr>\nAll stops on book tour through March 25 canceled, including at Booksmith SF (March 16)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/events/94291513455\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls Trivia Happy Hour with KQED\u003c/a>\u003c/strong> (March 16)\u003cbr>\nPostponed to future date TBA\u003c/p>\n\u003cp>\u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Reboot Ideas Festival\u003c/strong>\u003c/a> (March 26–29)\u003cbr>\nPostponed; working to reschedule\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Theater\u003c/a>\u003c/strong>\u003cbr>\nCLosed to the public and all screenings canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://salesforcetransitcenter.com/events/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Salesforce Park\u003c/strong>\u003c/a>\u003cbr>\nAll group activities in the park suspended; park itself remains open\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfballet.org/a-message-regarding-the-covid-19-virus/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Ballet\u003c/strong>\u003c/a>\u003cbr>\nComplete run of \u003cem>A Midsummer Night’s Dream\u003c/em> (March 7–15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfbcgala.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Boys Chorus\u003c/a>\u003c/strong>\u003cbr>\nAnnual gala (March 14) rescheduled to May 16\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfca.org/2019-2020-season/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Choral Artists\u003c/a>\u003c/strong>\u003cbr>\n‘Joyful Voices, Stomping Feet’ performances canceled for March 8 (SF), March 14 (Palo Alto) and March 15 (Oakland)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfgmc.org/welcome/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> \u003c/strong>\u003cbr>\nPerformances of ‘Penned in Pink’ (March 26 and 28) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfneofuturists.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Neo-Futurists\u003c/a>\u003c/strong>\u003cbr>\nPerformances of \u003cem>The Infinite Wrench\u003c/em> (March 13 and 14) and \u003cem>Infinite Bitch\u003c/em> (March 19–21) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Public Library\u003c/strong>\u003c/a>\u003cbr>\nAll branches closed and programs canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfrecpark.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Recreation and Parks\u003c/a>\u003c/strong>\u003cbr>\nAll senior programming canceled through March 21; lawn bowling and summer resource fair canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Symphony\u003c/strong>\u003c/a>\u003cbr>\nConcerts canceled through April 6, including James Galway, Michael Tilson Thomas and more; tour of New York and Europe (March 17–April 7) also canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SaintPatricksDaySF/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco St. Patrick’s Day Parade\u003c/strong>\u003c/a> (March 14)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SJChamberOrchestra/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Chamber Orchestra\u003c/strong>\u003c/a>\u003cbr>\nMarch 29 ‘Inferno’ concert canceled; to be rescheduled at later date\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Children’s Discovery Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.nhl.com/sharks\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Sharks\u003c/a>\u003c/strong>\u003cbr>\nNHL season put on pause; all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n‘Showcasing Contemporary Women’ program (March 21-23) canceled; Youth Ensemble concert (March 15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sffilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SFFILM\u003c/a>\u003c/strong> (April 8-21)\u003cbr>\nEntire 2020 festival canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfjazz.org/visit/health/\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ\u003c/a>\u003c/strong>\u003cbr>\nAll concerts and programming through April 5 postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/calendar/all/all/all/all/all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Live\u003c/strong>\u003c/a>\u003cbr>\nAll large-scale concerts canceled through April 15\u003c/p>\n\u003cp>\u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll movie screenings temporarily suspended\u003c/p>\n\u003cp>\u003ca href=\"https://www.sundaystreetssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sunday Streets: Mission District\u003c/strong>\u003c/a> (March 8)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tactile Dome at the Exploratorium\u003c/strong>\u003c/a>\u003cbr>\nExhibit closed indefinitely\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theatreworks.org/covid19/\" rel=\"noopener noreferrer\" target=\"_blank\">TheatreWorks Silicon Valley\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘They Promised Her the Moon’ and ‘Ragtime’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tonyrobbins.com/news/upw-san-jose-is-postponed/\" target=\"_blank\" rel=\"noopener noreferrer\">UPW San Jose with Tony Robbins\u003c/a>\u003c/strong> (March 12–15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/vogue\" rel=\"noopener noreferrer\" target=\"_blank\">Vogue Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003ca href=\"https://www.waltdisney.org/visitor-update\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Walt Disney Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 20\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Warriors\u003c/strong>\u003c/a>\u003cbr>\nNBA season put on pause, all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute\u003c/a>\u003c/strong>\u003cbr>\nHồng-Ân Trương talk (March 12) and Astria Suparak’s illustrated lecture (March 19) postponed until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://winchestermysteryhouse.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Winchester Mystery House\u003c/a>\u003c/strong>\u003cbr>\nClosed through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://womensoundoff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Women Sound Off\u003c/a>\u003c/strong> (slated for April 3–5)\u003cbr>\nPostponed to October 2–4\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blog.ycombinator.com/yc-w20-online-demo-day-now-on-march-16/\" target=\"_blank\" rel=\"noopener noreferrer\">Y Combinator Demo Day\u003c/a>\u003c/strong> (March 23)\u003cbr>\nMoved to March 16, now entirely online\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ybca.org/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a>\u003c/strong>\u003cbr>\nAll shows will have reduced capacity through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zspace.org/covid-19prep\" rel=\"noopener noreferrer\" target=\"_blank\">Z Space\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zellerbach Hall\u003c/a>\u003c/strong>\u003cbr>\nAll Cal Performances events are still on, but ticketholders may exchange for other dates or request refunds for shows through March 29\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Submit info about canceled events \u003ca href=\"mailto:gmeline@kqed.org?subject=Coronavirus%20Cancelation\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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