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"content": "\u003cp>\u003cstrong>Update, May 18: \u003c/strong>Former employees of Starline Social Club, most of whom have been laid off since the pandemic began, called the venue’s announcement about converting into a co-op into question in interviews with KQED. They said they learned about the co-op plans only when owners announced them to the public, and questioned the financial motives in light of the business’ struggles. \u003ca href=\"https://www.kqed.org/arts/13897239/former-employees-call-co-op-plans-into-question-at-starline-social-club\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>. [aside postid='arts_13897239']\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Bay Area music fans were devastated when the owners of Starline Social Club put their historic ballroom on the market late last year.\u003c/p>\n\u003cp>For five years, the venue hosted dance parties, concerts, karaoke, community fundraisers and jazz nights, and became known as a hub for Oakland’s diverse creative scenes. But as the pandemic dragged on and put them in dire financial straits, the owners decided to call it quits. Last October, co-owners Adam Hatch and Drew Bennett \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that they hoped that someone would buy the building and keep it as a venue rather than demolish it and turn it into condos.\u003c/p>\n\u003cp>Fortunately, they were able to reverse that decision, thanks in part to the announcement that businesses in California can return to full capacity in June, and an application to the federal \u003ca href=\"https://www.kqed.org/arts/13895993/save-our-stages-svog-delayed-music-venues-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a>, which will provide substantial relief funding to concert halls and clubs. [aside postid='arts_13890093']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The owners of Starline Social Club tell KQED that the venue will be back in action in September, and is in the early stages of converting into a worker-owned co-op. “Through the many months, we have schemed and stressed and hoped for the best,” the owners wrote in a statement. “And from the ashes of that flaming dumpster fire that was 2020 we rise, a glorious Phoenix, made of a 130 year old building and many, many friends.”\u003c/p>\n\u003cp>They also said they’re currently working on renovations in the space and building a calendar of concerts and events.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Not having to close is all made possible by the [Small Business Administration] loans, and our hope of securing the Shuttered Venue Operators Grant in the near future,” the statement said. “We are forever grateful for all the folks throughout the industry who stood up and fought for this life-changing grant over the last year.”\u003c/p>\n\n",
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"title": "Honey Bear Mural Painted Over By SF LGBT Center; Artist fnnch Responds",
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"content": "\u003cp>The San Francisco LGBT Center on Tuesday painted over a mural by the street artist \u003ca href=\"https://www.instagram.com/fnnch/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">fnnch\u003c/a> that had become a flashpoint in a \u003ca href=\"https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-art-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">heated debate\u003c/a> about representation and gentrification in San Francisco.\u003c/p>\n\u003cp>Installed in June 2020, the mural had for the past 10 months showed three of fnnch’s trademark honey bears facing a busy Market Street intersection on the center’s large purple building. \u003c/p>\n\u003cp>In a \u003ca href=\"https://www.instagram.com/p/COOiCRrhVjy/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> issued Wednesday afternoon, the center cited a planned annual rotation of murals on the East-facing wall (prominently on view from the 101-N Octavia Street exit), but also acknowledged “the fact that fnnch has engendered a host of opinions and that some of his recent comments about being an immigrant have brought pain to many members of our community.” The statement emphasized “the Center does not agree with fnnch’s recent comments, and we have shared our concerns about the impact of his comments directly with him.”\u003c/p>\n\u003cp>[aside postID='arts_13896327']In a confrontation \u003ca href=\"https://www.instagram.com/p/CN-qwbvBoIR/\" rel=\"noopener noreferrer\" target=\"_blank\">uploaded last week\u003c/a> to Instagram by street artist DoggTown Dro and filmed outside the LGBT Center, fnnch, who is white and straight, identified himself as an “immigrant” from Missouri. The footage fed a flurry of social media activity as users voiced their opinions for and against fnnch’s work, which has proliferated widely across the city in the past year in the form of paper honey bears installed in home windows.\u003c/p>\n\u003cp>“I have been creating Pride art and donating to LGBT charities as long as I’ve been creating street art,” fnnch said in a statement provided to KQED, noting that 2020 held special importance to him as the 25th anniversary of his uncle’s death from AIDS. fnnch said the design of the three honey bears, painted in the colors of the Progress Pride Flag, the Bi Flag and the Trans Flag, was created in consultation with the LGBT Center. He also noted he “helped fundraise over $20k for the Center through T-shirt sales, painting donations, and my partnership with Humphrey Slocombe.” He did not the address the recent confrontation or social media criticism of his work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mural project “was already an idea the Center had conceptualized” before June of last year, Danielle Siragusa, the LGBT Center’s director of development and communications told KQED in an email. “As we were beginning to put an implementation plan in place, we were approached by fnnch at the beginning of shelter-in-place who offered to do the mural cost-free for us. We then decided this would be a great fit to be the inaugural mural to kick off the annual rotating mural project.”\u003c/p>\n\u003cfigure id=\"attachment_13896549\" class=\"wp-caption aligncenter\" style=\"max-width: 503px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/muraldeface.jpg\" alt=\"A mural of honey bears by street artist fnnch is defaced on the side of the SF LGBT Center.\" width=\"503\" height=\"400\" class=\"size-full wp-image-13896549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/muraldeface.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/muraldeface-160x127.jpg 160w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">A mural of honey bears by street artist fnnch is defaced on the side of the SF LGBT Center. \u003ccite>(Twitter/@Tosa_Dad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over time, though, the fnnch mural became the site of contrasting visions of San Francisco. It was both a background in \u003ca href=\"https://www.instagram.com/p/CDMSmUopxOn/\" rel=\"noopener noreferrer\" target=\"_blank\">photo ops for local leaders\u003c/a> and the repeated target of graffiti, with San Francisco street artists focusing on the honey bears as a symbol of gentrification. Before it was painted fully white on Tuesday, messages written across the mural read “Dissolve the Honey Bear” and “Learn Our Culture B4 U Wreck It.”\u003c/p>\n\u003cp>When asked how the controversy over the LGBT Center mural might change the way he approaches future projects, fnnch wrote in an email, “I am still learning from this experience. The clearest learning so far is to collaborate with artists from the communities I hope to uplift.”\u003c/p>\n\u003cp>An \u003ca href=\"https://www.instagram.com/p/CONzmTMhWRs/\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> to the LGBT Center, written by “members of the native SF community and those fighting to preserve it” and distributed by hand during a Wednesday afternoon gathering across from the site of the fnnch mural, called for the center to “reevaluate who you choose to represent the city you service.” \u003c/p>\n\u003cp>As part of yesterday’s statement, the LGBT Center added that the next set of artists have been selected (a yet-unnamed collaborative duo) and that “they are both members of the LGBTQ+ and BIPOC community.” Their mural is scheduled to be unveiled in June for Pride month. The center also plans to hold open applications for future murals. “Our goal is to showcase a variety of perspectives, art and artists representing our diverse communities,” the statement reads.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read fnnch’s full statement provided to KQED below. \u003c/p>\n\u003cblockquote>\u003cp>A year ago I brainstormed with my publicist, a community leader in the LGBT community, how we could celebrate the 50th anniversary of Pride. I have been creating Pride art and donating to LGBT charities as long as I’ve been creating street art, and last year was of particular importance to me as the 25th anniversary of my uncle’s death from AIDS. We decided that a mural was something people could enjoy in a socially distant fashion, and so he approached the SF LGBT Center, asking if we could paint one there. Their wall, like most walls, had sat empty for over 100 years, and while they had discussed the idea of a rotating mural there, they had no concrete plans to do one but were generally open to the idea. I worked with them on the design over the period of months and we settled on one that they not only approved but ran by members of their community. I painted it for free, donating my time, team and materials, and it was generally well received. Throughout the year, over 100 community leaders came out to take photos with it, including London Breed, Mark Leno, Deborah Walker, Sister Roma, Paul Henderson, and Clair Farley. I also helped fundraise over $20k for The Center through t-shirt sales, painting donations, and my partnership with Humphrey Slocombe. The plan was always to rotate the mural after a year. It has now been a year. I am thankful to the SF LGBT Center that they let me paint this mural, and I am proud to have helped kick off a program that will bring public artwork to this incredible mural wall.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco LGBT Center on Tuesday painted over a mural by the street artist \u003ca href=\"https://www.instagram.com/fnnch/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">fnnch\u003c/a> that had become a flashpoint in a \u003ca href=\"https://www.kqed.org/arts/13896327/fnnch-honey-bears-street-art-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">heated debate\u003c/a> about representation and gentrification in San Francisco.\u003c/p>\n\u003cp>Installed in June 2020, the mural had for the past 10 months showed three of fnnch’s trademark honey bears facing a busy Market Street intersection on the center’s large purple building. \u003c/p>\n\u003cp>In a \u003ca href=\"https://www.instagram.com/p/COOiCRrhVjy/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> issued Wednesday afternoon, the center cited a planned annual rotation of murals on the East-facing wall (prominently on view from the 101-N Octavia Street exit), but also acknowledged “the fact that fnnch has engendered a host of opinions and that some of his recent comments about being an immigrant have brought pain to many members of our community.” The statement emphasized “the Center does not agree with fnnch’s recent comments, and we have shared our concerns about the impact of his comments directly with him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a confrontation \u003ca href=\"https://www.instagram.com/p/CN-qwbvBoIR/\" rel=\"noopener noreferrer\" target=\"_blank\">uploaded last week\u003c/a> to Instagram by street artist DoggTown Dro and filmed outside the LGBT Center, fnnch, who is white and straight, identified himself as an “immigrant” from Missouri. The footage fed a flurry of social media activity as users voiced their opinions for and against fnnch’s work, which has proliferated widely across the city in the past year in the form of paper honey bears installed in home windows.\u003c/p>\n\u003cp>“I have been creating Pride art and donating to LGBT charities as long as I’ve been creating street art,” fnnch said in a statement provided to KQED, noting that 2020 held special importance to him as the 25th anniversary of his uncle’s death from AIDS. fnnch said the design of the three honey bears, painted in the colors of the Progress Pride Flag, the Bi Flag and the Trans Flag, was created in consultation with the LGBT Center. He also noted he “helped fundraise over $20k for the Center through T-shirt sales, painting donations, and my partnership with Humphrey Slocombe.” He did not the address the recent confrontation or social media criticism of his work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mural project “was already an idea the Center had conceptualized” before June of last year, Danielle Siragusa, the LGBT Center’s director of development and communications told KQED in an email. “As we were beginning to put an implementation plan in place, we were approached by fnnch at the beginning of shelter-in-place who offered to do the mural cost-free for us. We then decided this would be a great fit to be the inaugural mural to kick off the annual rotating mural project.”\u003c/p>\n\u003cfigure id=\"attachment_13896549\" class=\"wp-caption aligncenter\" style=\"max-width: 503px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/muraldeface.jpg\" alt=\"A mural of honey bears by street artist fnnch is defaced on the side of the SF LGBT Center.\" width=\"503\" height=\"400\" class=\"size-full wp-image-13896549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/muraldeface.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/muraldeface-160x127.jpg 160w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">A mural of honey bears by street artist fnnch is defaced on the side of the SF LGBT Center. \u003ccite>(Twitter/@Tosa_Dad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over time, though, the fnnch mural became the site of contrasting visions of San Francisco. It was both a background in \u003ca href=\"https://www.instagram.com/p/CDMSmUopxOn/\" rel=\"noopener noreferrer\" target=\"_blank\">photo ops for local leaders\u003c/a> and the repeated target of graffiti, with San Francisco street artists focusing on the honey bears as a symbol of gentrification. Before it was painted fully white on Tuesday, messages written across the mural read “Dissolve the Honey Bear” and “Learn Our Culture B4 U Wreck It.”\u003c/p>\n\u003cp>When asked how the controversy over the LGBT Center mural might change the way he approaches future projects, fnnch wrote in an email, “I am still learning from this experience. The clearest learning so far is to collaborate with artists from the communities I hope to uplift.”\u003c/p>\n\u003cp>An \u003ca href=\"https://www.instagram.com/p/CONzmTMhWRs/\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> to the LGBT Center, written by “members of the native SF community and those fighting to preserve it” and distributed by hand during a Wednesday afternoon gathering across from the site of the fnnch mural, called for the center to “reevaluate who you choose to represent the city you service.” \u003c/p>\n\u003cp>As part of yesterday’s statement, the LGBT Center added that the next set of artists have been selected (a yet-unnamed collaborative duo) and that “they are both members of the LGBTQ+ and BIPOC community.” Their mural is scheduled to be unveiled in June for Pride month. The center also plans to hold open applications for future murals. “Our goal is to showcase a variety of perspectives, art and artists representing our diverse communities,” the statement reads.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read fnnch’s full statement provided to KQED below. \u003c/p>\n\u003cblockquote>\u003cp>A year ago I brainstormed with my publicist, a community leader in the LGBT community, how we could celebrate the 50th anniversary of Pride. I have been creating Pride art and donating to LGBT charities as long as I’ve been creating street art, and last year was of particular importance to me as the 25th anniversary of my uncle’s death from AIDS. We decided that a mural was something people could enjoy in a socially distant fashion, and so he approached the SF LGBT Center, asking if we could paint one there. Their wall, like most walls, had sat empty for over 100 years, and while they had discussed the idea of a rotating mural there, they had no concrete plans to do one but were generally open to the idea. I worked with them on the design over the period of months and we settled on one that they not only approved but ran by members of their community. I painted it for free, donating my time, team and materials, and it was generally well received. Throughout the year, over 100 community leaders came out to take photos with it, including London Breed, Mark Leno, Deborah Walker, Sister Roma, Paul Henderson, and Clair Farley. I also helped fundraise over $20k for The Center through t-shirt sales, painting donations, and my partnership with Humphrey Slocombe. The plan was always to rotate the mural after a year. It has now been a year. I am thankful to the SF LGBT Center that they let me paint this mural, and I am proud to have helped kick off a program that will bring public artwork to this incredible mural wall.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Esa-Pekka Salonen took the helm of the San Francisco Symphony in 2020, he promised to bring a tech-savvy, forward-thinking vision to the 110-year-old orchestra. This willingness to adapt proved to be very useful when the pandemic forced the cancellation of Salonen’s ambitious debut season as music director. Quickly, he and the symphony switched gears, launching a new \u003ca href=\"https://www.kqed.org/arts/13891311/sfsymphonys-new-streaming-service-debuts-with-multi-cultural-concerts-collaborations\" target=\"_blank\" rel=\"noopener noreferrer\">streaming service\u003c/a> with the belief that online performances are an art form in their own right, and trying experiments like \u003ca href=\"https://www.kqed.org/arts/13884842/sf-symphonys-11-concerts-offer-a-lifeline-while-live-music-is-on-pause\" target=\"_blank\" rel=\"noopener noreferrer\">private, outdoor, socially distanced concerts\u003c/a> for solitary fans through a raffle system.\u003c/p>\n\u003cp>Noble as these experiments have been, they certainly haven’t replaced the feeling of witnessing dozens of top-tier instrumentalists perform in person. But with millions of Californians now vaccinated and \u003ca href=\"http://sfsymphony.org/safety\" target=\"_blank\" rel=\"noopener noreferrer\">safety guidelines\u003c/a> for live entertainment in place, the day has finally arrived. The San Francisco Symphony has announced its return to live events at Davies Symphony Hall on May 6, with concerts taking place every Thursday and Friday in May and June.\u003c/p>\n\u003cp>“A friend recently said to me, ‘We just need to start.’ I feel joy and relief at finally being able to do just that with the San Francisco Symphony,” Salonen said in a statement. “We go into these concerts having worked as a unit to bring music into your homes in unique and meaningful ways this year. We now welcome audiences into our home—something we didn’t realize we had taken for granted. Let’s get started, together.”\u003c/p>\n\u003cp>All tickets for the May 6 and 7 performances, and a portion of tickets for the concerts that follow, will be given out for free to Bay Area medical professionals. Each concert will be 75 minutes in length with no intermission. A number of other COVID-19 precautions will be in place, including contactless tickets, a smaller audience, universal mask requirements and proof of vaccination or a negative COVID test.\u003c/p>\n\u003cp>The program for the first pair of concerts, led by Salonen, includes Jean Sibelius’ \u003cem>Rakastava\u003c/em>, George Walker’s \u003cem>Lyric for Strings\u003c/em>, Carl Nielsen’s \u003cem>Little Suite for Strings\u003c/em>, Caroline Shaw’s \u003cem>Entr’acte\u003c/em> and Edvard Grieg’s \u003cem>From Holberg’s Time Suite\u003c/em>. On May 13 and 14, pianist Jeremy Denk leads the orchestra in performances of William Grant Still’s \u003cem>Out of the Silence\u003c/em>, Johann Sebastian Bach’s Keyboard Concerto No. 1 in D minor, BWV 1052, Wolfgang Amadè Mozart’s Piano Concerto No. 14 in E-flat major, K.449, and Gerald Finzi’s \u003cem>Eclogue\u003c/em> for Piano and Strings. On May 20 and 21, guest conductor James Gaffigan joins for the U.S. premiere of Freya Waley-Cohen’s \u003cem>Talisman\u003c/em>, Arnold Schoenberg’s \u003cem>Verklärte Nacht\u003c/em> and Samuel Barber’s \u003cem>Adagio for Strings\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The rest of the schedule will be announced on May 24, and more details about concerts in July and August will arrive in June. Tickets go on sale on May 6 at 10am and may be purchased by phone from the box office. \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Esa-Pekka Salonen took the helm of the San Francisco Symphony in 2020, he promised to bring a tech-savvy, forward-thinking vision to the 110-year-old orchestra. This willingness to adapt proved to be very useful when the pandemic forced the cancellation of Salonen’s ambitious debut season as music director. Quickly, he and the symphony switched gears, launching a new \u003ca href=\"https://www.kqed.org/arts/13891311/sfsymphonys-new-streaming-service-debuts-with-multi-cultural-concerts-collaborations\" target=\"_blank\" rel=\"noopener noreferrer\">streaming service\u003c/a> with the belief that online performances are an art form in their own right, and trying experiments like \u003ca href=\"https://www.kqed.org/arts/13884842/sf-symphonys-11-concerts-offer-a-lifeline-while-live-music-is-on-pause\" target=\"_blank\" rel=\"noopener noreferrer\">private, outdoor, socially distanced concerts\u003c/a> for solitary fans through a raffle system.\u003c/p>\n\u003cp>Noble as these experiments have been, they certainly haven’t replaced the feeling of witnessing dozens of top-tier instrumentalists perform in person. But with millions of Californians now vaccinated and \u003ca href=\"http://sfsymphony.org/safety\" target=\"_blank\" rel=\"noopener noreferrer\">safety guidelines\u003c/a> for live entertainment in place, the day has finally arrived. The San Francisco Symphony has announced its return to live events at Davies Symphony Hall on May 6, with concerts taking place every Thursday and Friday in May and June.\u003c/p>\n\u003cp>“A friend recently said to me, ‘We just need to start.’ I feel joy and relief at finally being able to do just that with the San Francisco Symphony,” Salonen said in a statement. “We go into these concerts having worked as a unit to bring music into your homes in unique and meaningful ways this year. We now welcome audiences into our home—something we didn’t realize we had taken for granted. Let’s get started, together.”\u003c/p>\n\u003cp>All tickets for the May 6 and 7 performances, and a portion of tickets for the concerts that follow, will be given out for free to Bay Area medical professionals. Each concert will be 75 minutes in length with no intermission. A number of other COVID-19 precautions will be in place, including contactless tickets, a smaller audience, universal mask requirements and proof of vaccination or a negative COVID test.\u003c/p>\n\u003cp>The program for the first pair of concerts, led by Salonen, includes Jean Sibelius’ \u003cem>Rakastava\u003c/em>, George Walker’s \u003cem>Lyric for Strings\u003c/em>, Carl Nielsen’s \u003cem>Little Suite for Strings\u003c/em>, Caroline Shaw’s \u003cem>Entr’acte\u003c/em> and Edvard Grieg’s \u003cem>From Holberg’s Time Suite\u003c/em>. On May 13 and 14, pianist Jeremy Denk leads the orchestra in performances of William Grant Still’s \u003cem>Out of the Silence\u003c/em>, Johann Sebastian Bach’s Keyboard Concerto No. 1 in D minor, BWV 1052, Wolfgang Amadè Mozart’s Piano Concerto No. 14 in E-flat major, K.449, and Gerald Finzi’s \u003cem>Eclogue\u003c/em> for Piano and Strings. On May 20 and 21, guest conductor James Gaffigan joins for the U.S. premiere of Freya Waley-Cohen’s \u003cem>Talisman\u003c/em>, Arnold Schoenberg’s \u003cem>Verklärte Nacht\u003c/em> and Samuel Barber’s \u003cem>Adagio for Strings\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Shock G once named himself “the one who put the satin on your panties.”\u003c/p>\n\u003cp>Any deep dive into classic literature, be it \u003cem>Beowulf\u003c/em> or \u003cem>The Iliad\u003c/em>, won’t reveal a more puissant epithet. The passing of the former Digital Underground frontman/avatar comes as a, yes, shock to many, G. It reverberates with the recent passing of iconic rap figures like Black Rob, DMX and MF Doom—a sign that hip-hop has matured to the point where its heroes are becoming ancestors. [aside postid='arts_13895541']\u003c/p>\n\u003cp>As you read this, local social media pages have been filling up with heartfelt tributes and remembrances of Shock, who passed away of unknown causes on April 22 at age 57. (He died in Tampa, Florida, the city where the New York native spent his adolescence and young adulthood before relocating to Oakland.) People have shared stories about buying early cassettes from the artist, real name Gregory Jacobs, on Telegraph Avenue, and discoursing about film, art, and food on tour buses. One story finds him randomly showing up at Albany’s Ivy Room to rock an impromptu 15-minute freestyle, rapping through headphones to Brick’s “Dazz.” There are many other stories circulating about this hip-hop legend, a man who came along at a time when Bay Area hip-hop was beginning to heft national gravitas and helped push it over the hump. His contributions to local music culture remain truly significant. \u003c/p>\n\u003cp>Funny and provocative, Shock allegedly “once got busy in a Burger King bathroom.” But he also put Tupac, Saafir and Mystic on and produced Pac’s “So Many Tears,” “Rebel of the Underground,” and “Changes.” Inspired by Parliament-Funkadelic, Shock dubbed his erstwhile bandmates “Sons of the P” and revived the conceptual approach that separated George Clinton’s groups from the rest of the funkateers, creating urban mythos around aphrodisiac pills and full-body condoms. Underrated as a rapper, he nevertheless contributed a deceptively-smooth verse to perhaps the Bay Area-est rap song of all time, the remix of the Luniz’ “\u003ca href=\"https://youtu.be/CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">I Got Five On It\u003c/a>.” Shock held his ground alongside Yukmouth, Numskull, E-40, Dru Down, Spice-1 and Richie Rich. The half-rapped, half-sung lyrics sum up his ethos: “still bringing satin for them drawers, velvet for the mic, and a pound for the cause.” [aside postid='arts_13839952']\u003c/p>\n\u003cp>Most notably, he led the greatest hip-hop band not named The Roots or Stetsasonic, skillfully blending live instrumentation with P-Funk samples, turntables and rhymes that often ended up being catch phrases. Digital Underground crafted a unique identity in the burgeoning ’90s hip-hop field as the “\u003ca href=\"https://youtu.be/2v2sw89s9wA\" rel=\"noopener noreferrer\" target=\"_blank\">Freaks of the Industry\u003c/a>,” to name-check a classic song from Digital Underground’s 1990 debut album, \u003cem>Sex Packets\u003c/em>, which sold more than one million copies. The song was never officially released as a single. But that didn’t stop the promo-only 12” from becoming a radio and club favorite that still clocked spins and rocked parties decades after its release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/8Ihi-onGULs\u003c/p>\n\u003cp>Despite the salacious overtones of many of their songs, DU were a very nuanced and diverse group who covered a broad range of topics. For all the whimsical humor and self-clowning of their biggest hit, “The Humpty Dance,” they were equally capable of making poignant pleas for unity (“\u003ca href=\"https://youtu.be/CmFDyZ3ytg8\" rel=\"noopener noreferrer\" target=\"_blank\">The Same Song\u003c/a>”), togetherness (“\u003ca href=\"https://youtu.be/BwU8K9WF-bc\" rel=\"noopener noreferrer\" target=\"_blank\">Wassup Wit The Luv?\u003c/a>”) and emotional resonance (“\u003ca href=\"https://youtu.be/-msFXMBn7rQ\" rel=\"noopener noreferrer\" target=\"_blank\">Heartbeat Props\u003c/a>”). They made party anthems like “Doowhutchyalike” and “Kiss You Back,” but also injected social commentary in unexpected places, as on “\u003ca href=\"https://youtu.be/dDy4bp9nKf0\" rel=\"noopener noreferrer\" target=\"_blank\">No Nose Job\u003c/a>,” a subtle dig at artists who dilute their image to chase pop stardom and commercial success. Their live shows were known for their energy—a major reason why they remained a touring act well into the late 2000s.\u003c/p>\n\u003cp>https://youtu.be/PBsjggc5jHM\u003c/p>\n\u003cp>If DU was the hip-hop equivalent of a circus act, Shock G was its ringleader, a man of many talents who rapped, sang, produced, played the piano and designed cover artwork. Years after their success had faded, in 2004, he released a solo album, \u003cem>Fear of a Mixed Planet\u003c/em>—which I flagged as one of the year’s best albums in an \u003ca href=\"https://eastbayexpress.com/new-bay-incarnate-1/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>East Bay Express\u003c/em>\u003c/a> holiday round-up: “Digital Underground founder Shock G will always be linked to his colorful, proboscis-flaunting alter ego Humpty Hump, but there’s more to him than just a nose.” Specifically, the Tupac tribute “Keep It Beautiful” stood out for “a poignancy that has all but disappeared from rap music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the height of their success in the early ’90s, DU toured with Public Enemy. Their show at the Shoreline Amphitheater easily kept pace with Chuck D and Flavor Flav’s frenetic tone. Two decades later, Shock closed Oakland’s Life Is Living festival with a remarkable solo set that showcased all his talents: rapping, singing, and playing the keyboards. The set felt like a gift to Oakland, the adopted home with which he will forever be identified. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shock G once named himself “the one who put the satin on your panties.”\u003c/p>\n\u003cp>Any deep dive into classic literature, be it \u003cem>Beowulf\u003c/em> or \u003cem>The Iliad\u003c/em>, won’t reveal a more puissant epithet. The passing of the former Digital Underground frontman/avatar comes as a, yes, shock to many, G. It reverberates with the recent passing of iconic rap figures like Black Rob, DMX and MF Doom—a sign that hip-hop has matured to the point where its heroes are becoming ancestors. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As you read this, local social media pages have been filling up with heartfelt tributes and remembrances of Shock, who passed away of unknown causes on April 22 at age 57. (He died in Tampa, Florida, the city where the New York native spent his adolescence and young adulthood before relocating to Oakland.) People have shared stories about buying early cassettes from the artist, real name Gregory Jacobs, on Telegraph Avenue, and discoursing about film, art, and food on tour buses. One story finds him randomly showing up at Albany’s Ivy Room to rock an impromptu 15-minute freestyle, rapping through headphones to Brick’s “Dazz.” There are many other stories circulating about this hip-hop legend, a man who came along at a time when Bay Area hip-hop was beginning to heft national gravitas and helped push it over the hump. His contributions to local music culture remain truly significant. \u003c/p>\n\u003cp>Funny and provocative, Shock allegedly “once got busy in a Burger King bathroom.” But he also put Tupac, Saafir and Mystic on and produced Pac’s “So Many Tears,” “Rebel of the Underground,” and “Changes.” Inspired by Parliament-Funkadelic, Shock dubbed his erstwhile bandmates “Sons of the P” and revived the conceptual approach that separated George Clinton’s groups from the rest of the funkateers, creating urban mythos around aphrodisiac pills and full-body condoms. Underrated as a rapper, he nevertheless contributed a deceptively-smooth verse to perhaps the Bay Area-est rap song of all time, the remix of the Luniz’ “\u003ca href=\"https://youtu.be/CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">I Got Five On It\u003c/a>.” Shock held his ground alongside Yukmouth, Numskull, E-40, Dru Down, Spice-1 and Richie Rich. The half-rapped, half-sung lyrics sum up his ethos: “still bringing satin for them drawers, velvet for the mic, and a pound for the cause.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most notably, he led the greatest hip-hop band not named The Roots or Stetsasonic, skillfully blending live instrumentation with P-Funk samples, turntables and rhymes that often ended up being catch phrases. Digital Underground crafted a unique identity in the burgeoning ’90s hip-hop field as the “\u003ca href=\"https://youtu.be/2v2sw89s9wA\" rel=\"noopener noreferrer\" target=\"_blank\">Freaks of the Industry\u003c/a>,” to name-check a classic song from Digital Underground’s 1990 debut album, \u003cem>Sex Packets\u003c/em>, which sold more than one million copies. The song was never officially released as a single. But that didn’t stop the promo-only 12” from becoming a radio and club favorite that still clocked spins and rocked parties decades after its release.\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/8Ihi-onGULs'\n title='//www.youtube.com/embed/8Ihi-onGULs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the salacious overtones of many of their songs, DU were a very nuanced and diverse group who covered a broad range of topics. For all the whimsical humor and self-clowning of their biggest hit, “The Humpty Dance,” they were equally capable of making poignant pleas for unity (“\u003ca href=\"https://youtu.be/CmFDyZ3ytg8\" rel=\"noopener noreferrer\" target=\"_blank\">The Same Song\u003c/a>”), togetherness (“\u003ca href=\"https://youtu.be/BwU8K9WF-bc\" rel=\"noopener noreferrer\" target=\"_blank\">Wassup Wit The Luv?\u003c/a>”) and emotional resonance (“\u003ca href=\"https://youtu.be/-msFXMBn7rQ\" rel=\"noopener noreferrer\" target=\"_blank\">Heartbeat Props\u003c/a>”). They made party anthems like “Doowhutchyalike” and “Kiss You Back,” but also injected social commentary in unexpected places, as on “\u003ca href=\"https://youtu.be/dDy4bp9nKf0\" rel=\"noopener noreferrer\" target=\"_blank\">No Nose Job\u003c/a>,” a subtle dig at artists who dilute their image to chase pop stardom and commercial success. Their live shows were known for their energy—a major reason why they remained a touring act well into the late 2000s.\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/PBsjggc5jHM'\n title='//www.youtube.com/embed/PBsjggc5jHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If DU was the hip-hop equivalent of a circus act, Shock G was its ringleader, a man of many talents who rapped, sang, produced, played the piano and designed cover artwork. Years after their success had faded, in 2004, he released a solo album, \u003cem>Fear of a Mixed Planet\u003c/em>—which I flagged as one of the year’s best albums in an \u003ca href=\"https://eastbayexpress.com/new-bay-incarnate-1/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>East Bay Express\u003c/em>\u003c/a> holiday round-up: “Digital Underground founder Shock G will always be linked to his colorful, proboscis-flaunting alter ego Humpty Hump, but there’s more to him than just a nose.” Specifically, the Tupac tribute “Keep It Beautiful” stood out for “a poignancy that has all but disappeared from rap music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the height of their success in the early ’90s, DU toured with Public Enemy. Their show at the Shoreline Amphitheater easily kept pace with Chuck D and Flavor Flav’s frenetic tone. Two decades later, Shock closed Oakland’s Life Is Living festival with a remarkable solo set that showcased all his talents: rapping, singing, and playing the keyboards. The set felt like a gift to Oakland, the adopted home with which he will forever be identified. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Federal Grant Applications Now Open to Music Venues Seeking Relief",
"headTitle": "Federal Grant Applications Now Open to Music Venues Seeking Relief | KQED",
"content": "\u003cp>\u003cstrong>Update, April 23: \u003c/strong>After announcing that the Shuttered Venue Operators Grant application will open Saturday, April 24, the Small Business Administration changed the date to Monday, April 26, at 9am PT.\u003c/p>\n\u003cp>\u003cstrong>Update, April 23: \u003c/strong>After its April 8 launch date was postponed due to technical difficulties, the \u003ca href=\"https://www.svograntportal.sba.gov/s/\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a>\u003ca href=\"https://www.svograntportal.sba.gov/s/\" target=\"_blank\" rel=\"noopener noreferrer\"> application\u003c/a> will go live tomorrow, April 24, at 9:30am PT, allowing concert venues and clubs to apply for long-awaited financial relief from the federal government. In a statement, the Small Business Administration explained that it spent the last two weeks making the application more user friendly, creating a waiting room feature to accommodate high demand and enhancing security. Applicants can begin the process today by registering their accounts.\u003c/p>\n\u003cp>“We recognize the urgency and need to get this program up and running,” said Barb Carson, deputy associate administrator of SBA’s Office of Disaster Assistance. “With venue operators in danger of closing, every day that passes by is a day that these businesses cannot afford.”\u003c/p>\n\u003cp>Carson said the SBA will begin reviewing applications on Saturday as soon as they are submitted.\u003c/p>\n\u003cp>Audrey Fix Schaefer, board member and communications director of the National Independent Venue Association, shared venue owners’ gratitude for the update. “Every single day that passes small businesses are receiving eviction notices, all the while $16 billion has been waiting for them,” Schaefer said. “This is a lifeline for thousands of independent venues and promoters in big towns and in small communities across the nation. When you’ve had revenue losses of more than 90 percent and are in fear of going under, having the opportunity to apply for the grant is a relief, no matter what day of the week it is. We’re thankful our members won’t have to wait much longer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Original post, April 19:\u003c/strong>\u003c/p>\n\u003cp>When Congress passed the $16 billion Save Our Stages Act in December, it promised music venues their first significant relief funding since COVID-19 shut down the concert industry over a year ago. The first businesses to close and the last to reopen, music venues have still had to cover rents, mortgages, insurance costs and other bills without the ability to earn revenue—which, for many, has meant taking on hundreds of thousands of dollars in debt or shutting down permanently.\u003c/p>\n\u003cp>After three months of silence, the Small Business Administration (SBA) announced in March that applications for the \u003ca href=\"https://www.sba.gov/funding-programs/loans/covid-19-relief-options/shuttered-venue-operators-grant#section-header-9\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> (SVOG), which resulted from Save Our Stages, would open April 8. But the \u003ca href=\"https://www.billboard.com/articles/business/touring/9553765/shuttered-venue-operators-grant-applications-shut-down/\" target=\"_blank\" rel=\"noopener noreferrer\">portal crashed\u003c/a> shortly after going live, and the SBA removed it without accepting any applications. [aside postid='arts_13894097']\u003c/p>\n\u003cp>A new application date hasn’t been announced, though SBA officials said in an April 16 statement that “over the next few days, our tech team and vendors will remain focused on testing the Shuttered Venue Operators Grant application portal,” and that they hope to reopen it later this week. The SBA did not comment on whether the funding itself would be further delayed after applications reopened.\u003c/p>\n\u003cp>“At this point the delay is devastating, as the small businesses that Congress intended to save are going under as they wait for the emergency relief,” Roger Picone, production manager at \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>, wrote to KQED in an email. “More businesses are going to have to call it quits because they cannot hold out any longer, all the while $16 billion is waiting to save them.”\u003c/p>\n\u003cp>Over the past year, several independent Bay Area music venues that nurtured local talent—including \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, the Uptown and \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">the Stud\u003c/a>—have gone out of business. And without SVOG funding, the owners of those that remain are going into debt, emptying their retirement savings and resorting to crowd funding to hang on until business can resume at full capacity.\u003c/p>\n\u003cp>“We’ve had to find a bunch of money that we’ll have to pay [off] probably for the rest of our lives,” Rob Ready, co-owner of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13894097/music-venues-still-waiting-for-funding-three-months-after-save-our-stages-act\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED in March\u003c/a>. “We’re racking up a mountain of debt. … I’m 36 now and I’m hoping to retire sometime when I’m 90.”\u003c/p>\n\u003cp>Amid the hurdles at the federal level, San Francisco Mayor London Breed announced today that \u003ca href=\"https://sf.gov/apply-live-music-and-entertainment-venue-grant\" target=\"_blank\" rel=\"noopener noreferrer\">applications\u003c/a> for the city’s Music and Entertainment Venue Recovery Fund \u003ca href=\"https://www.kqed.org/arts/13894097/music-venues-still-waiting-for-funding-three-months-after-save-our-stages-act\" target=\"_blank\" rel=\"noopener noreferrer\">would open on April 21\u003c/a>. But the $3 million fund is only intended as a stop-gap measure until federal aid arrives. The San Francisco fund offers qualifying music venues grants of around $10,000. (To put things in perspective, the San Francisco Venue Coalition estimates that it takes $18,000–$35,000 a month to maintain an empty venue.) In contrast, the SVOG funding will be much more substantial, equaling up to 45% of music venues’ 2019 revenue. [aside postid='arts_13895321']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On April 19, a bipartisan group of 164 Congresspeople signed \u003ca href=\"https://static1.squarespace.com/static/5e91157c96fe495a4baf48f2/t/607df06efc9f35235f32c03b/1618866286382/Congress-letter-to-SBA-Administrator-April-19-2021.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a letter\u003c/a> urging SBA administrator Isabella Guzman to expedite the SVOG funding. Even with California’s economy scheduled to fully reopen on June 15, venue owners say they can’t get back to booking concerts without an influx of funds. “We will be [financially] vulnerable for the whole of next year,” said Lynn Schwarz, co-owner of \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a> in San Francisco, in an \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" target=\"_blank\" rel=\"noopener noreferrer\">interview\u003c/a> earlier this month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, April 23: \u003c/strong>After announcing that the Shuttered Venue Operators Grant application will open Saturday, April 24, the Small Business Administration changed the date to Monday, April 26, at 9am PT.\u003c/p>\n\u003cp>\u003cstrong>Update, April 23: \u003c/strong>After its April 8 launch date was postponed due to technical difficulties, the \u003ca href=\"https://www.svograntportal.sba.gov/s/\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a>\u003ca href=\"https://www.svograntportal.sba.gov/s/\" target=\"_blank\" rel=\"noopener noreferrer\"> application\u003c/a> will go live tomorrow, April 24, at 9:30am PT, allowing concert venues and clubs to apply for long-awaited financial relief from the federal government. In a statement, the Small Business Administration explained that it spent the last two weeks making the application more user friendly, creating a waiting room feature to accommodate high demand and enhancing security. Applicants can begin the process today by registering their accounts.\u003c/p>\n\u003cp>“We recognize the urgency and need to get this program up and running,” said Barb Carson, deputy associate administrator of SBA’s Office of Disaster Assistance. “With venue operators in danger of closing, every day that passes by is a day that these businesses cannot afford.”\u003c/p>\n\u003cp>Carson said the SBA will begin reviewing applications on Saturday as soon as they are submitted.\u003c/p>\n\u003cp>Audrey Fix Schaefer, board member and communications director of the National Independent Venue Association, shared venue owners’ gratitude for the update. “Every single day that passes small businesses are receiving eviction notices, all the while $16 billion has been waiting for them,” Schaefer said. “This is a lifeline for thousands of independent venues and promoters in big towns and in small communities across the nation. When you’ve had revenue losses of more than 90 percent and are in fear of going under, having the opportunity to apply for the grant is a relief, no matter what day of the week it is. We’re thankful our members won’t have to wait much longer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Original post, April 19:\u003c/strong>\u003c/p>\n\u003cp>When Congress passed the $16 billion Save Our Stages Act in December, it promised music venues their first significant relief funding since COVID-19 shut down the concert industry over a year ago. The first businesses to close and the last to reopen, music venues have still had to cover rents, mortgages, insurance costs and other bills without the ability to earn revenue—which, for many, has meant taking on hundreds of thousands of dollars in debt or shutting down permanently.\u003c/p>\n\u003cp>After three months of silence, the Small Business Administration (SBA) announced in March that applications for the \u003ca href=\"https://www.sba.gov/funding-programs/loans/covid-19-relief-options/shuttered-venue-operators-grant#section-header-9\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> (SVOG), which resulted from Save Our Stages, would open April 8. But the \u003ca href=\"https://www.billboard.com/articles/business/touring/9553765/shuttered-venue-operators-grant-applications-shut-down/\" target=\"_blank\" rel=\"noopener noreferrer\">portal crashed\u003c/a> shortly after going live, and the SBA removed it without accepting any applications. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A new application date hasn’t been announced, though SBA officials said in an April 16 statement that “over the next few days, our tech team and vendors will remain focused on testing the Shuttered Venue Operators Grant application portal,” and that they hope to reopen it later this week. The SBA did not comment on whether the funding itself would be further delayed after applications reopened.\u003c/p>\n\u003cp>“At this point the delay is devastating, as the small businesses that Congress intended to save are going under as they wait for the emergency relief,” Roger Picone, production manager at \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>, wrote to KQED in an email. “More businesses are going to have to call it quits because they cannot hold out any longer, all the while $16 billion is waiting to save them.”\u003c/p>\n\u003cp>Over the past year, several independent Bay Area music venues that nurtured local talent—including \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, the Uptown and \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">the Stud\u003c/a>—have gone out of business. And without SVOG funding, the owners of those that remain are going into debt, emptying their retirement savings and resorting to crowd funding to hang on until business can resume at full capacity.\u003c/p>\n\u003cp>“We’ve had to find a bunch of money that we’ll have to pay [off] probably for the rest of our lives,” Rob Ready, co-owner of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13894097/music-venues-still-waiting-for-funding-three-months-after-save-our-stages-act\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED in March\u003c/a>. “We’re racking up a mountain of debt. … I’m 36 now and I’m hoping to retire sometime when I’m 90.”\u003c/p>\n\u003cp>Amid the hurdles at the federal level, San Francisco Mayor London Breed announced today that \u003ca href=\"https://sf.gov/apply-live-music-and-entertainment-venue-grant\" target=\"_blank\" rel=\"noopener noreferrer\">applications\u003c/a> for the city’s Music and Entertainment Venue Recovery Fund \u003ca href=\"https://www.kqed.org/arts/13894097/music-venues-still-waiting-for-funding-three-months-after-save-our-stages-act\" target=\"_blank\" rel=\"noopener noreferrer\">would open on April 21\u003c/a>. But the $3 million fund is only intended as a stop-gap measure until federal aid arrives. The San Francisco fund offers qualifying music venues grants of around $10,000. (To put things in perspective, the San Francisco Venue Coalition estimates that it takes $18,000–$35,000 a month to maintain an empty venue.) In contrast, the SVOG funding will be much more substantial, equaling up to 45% of music venues’ 2019 revenue. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On April 19, a bipartisan group of 164 Congresspeople signed \u003ca href=\"https://static1.squarespace.com/static/5e91157c96fe495a4baf48f2/t/607df06efc9f35235f32c03b/1618866286382/Congress-letter-to-SBA-Administrator-April-19-2021.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a letter\u003c/a> urging SBA administrator Isabella Guzman to expedite the SVOG funding. Even with California’s economy scheduled to fully reopen on June 15, venue owners say they can’t get back to booking concerts without an influx of funds. “We will be [financially] vulnerable for the whole of next year,” said Lynn Schwarz, co-owner of \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a> in San Francisco, in an \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" target=\"_blank\" rel=\"noopener noreferrer\">interview\u003c/a> earlier this month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Digital Underground's Shock G, an Oakland Hip-Hop Icon, Dies at 57",
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"content": "\u003cp>Shock G, the flamboyant, funny rap artist who brought Oakland hip-hop to a worldwide audience with the group Digital Underground, died Thursday at age 57, according to Digital Underground co-founder \u003ca href=\"https://www.instagram.com/p/CN_QDs7sayF/\" rel=\"noopener noreferrer\" target=\"_blank\">Chopmaster J\u003c/a>. \u003c/p>\n\u003cp>The cause of death is unknown. According to \u003ca href=\"https://www.tmz.com/2021/04/22/shock-g-dead-dies-digital-underground-humpty-dance-tupac/\" rel=\"noopener noreferrer\" target=\"_blank\">TMZ\u003c/a>, Shock G was found dead in a hotel room in Tampa, with no signs of trauma.\u003c/p>\n\u003cp>https://www.instagram.com/p/CN_QDs7sayF/\u003c/p>\n\u003cp>Shock G, born Greg Jacobs, was best-known for his work with Digital Underground, most notably the worldwide smash “The Humpty Dance,” released in 1990. Carried by Jacobs’ large-nosed persona, the song brought a swampy West Coast funk and dozens of comic one-liners to the national airwaves. The “Humpty Dance” video, filmed at Club Townsend in San Francisco, played in heavy rotation on MTV and VH1 for months during the cable networks’ heyday. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PBsjggc5jHM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A talented pianist and visual artist who illustrated much of Digital Underground’s album art, Jacobs also helped introduce the world to Tupac Shakur, who was an early member of Digital Underground, and whose debut album \u003cem>2Pacalypse Now\u003c/em> he co-produced. Shakur remarked in a 1995 interview that he looked back on his time alongside Shock G and Digital Underground “with the greatest fondness. Those were like, some of the best times of my life.”\u003c/p>\n\u003cfigure id=\"attachment_13896267\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg\" alt=\"The cover of The HUmpty Dance single\" width=\"600\" height=\"600\" class=\"size-full wp-image-13896267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Shock G’s cartoony illustrations laced Digital Underground’s album covers and inserts. \u003ccite>(Tommy Boy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs’ production credits, guest appearances and solo work continued long after the success of \u003cem>Sex Packets\u003c/em>, Digital Underground’s best-selling album. He appeared on the all-star remix of the Luniz’ “I Got 5 on It” with \u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">a who’s-who of Bay Area rap\u003c/a>, and produced songs for Mac Mall, Saafir and KRS-One. In 1998, Prince included his \u003ca href=\"https://www.youtube.com/watch?v=1vw9GqiAOv8\" rel=\"noopener noreferrer\" target=\"_blank\">remix\u003c/a> of “Love Sign” on his 1994 release \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Crystal_Ball_(box_set)\" rel=\"noopener noreferrer\" target=\"_blank\">Crystal Ball\u003c/a>\u003c/em>. Jacobs also toured with Parliament’s George Clinton, and performed in small clubs around the country as a solo artist. \u003c/p>\n\u003cp>Reaction to the news of Shock G’s death was swift:\u003c/p>\n\u003cp>https://twitter.com/E40/status/1385419121198702593\u003c/p>\n\u003cp>https://twitter.com/Bootsy_Collins/status/1385409370532548609\u003c/p>\n\u003cp>https://twitter.com/SheilaEdrummer/status/1385415157178765317\u003c/p>\n\u003cp>https://twitter.com/JheneAiko/status/1385414176944779264\u003c/p>\n\u003cp>https://www.instagram.com/p/CN_V-xMHPPM/\u003c/p>\n\u003cp>https://twitter.com/Passionweiss/status/1385397407437914114\u003c/p>\n\u003cp>https://twitter.com/2PAC/status/1385407941495300102\u003c/p>\n\u003cp>https://twitter.com/harikondabolu/status/1385416577668063239\u003c/p>\n\u003cp>https://twitter.com/fakeshoredrive/status/1385394592795742208\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/danamo/status/1385406865463414787\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A talented pianist and visual artist who illustrated much of Digital Underground’s album art, Jacobs also helped introduce the world to Tupac Shakur, who was an early member of Digital Underground, and whose debut album \u003cem>2Pacalypse Now\u003c/em> he co-produced. Shakur remarked in a 1995 interview that he looked back on his time alongside Shock G and Digital Underground “with the greatest fondness. Those were like, some of the best times of my life.”\u003c/p>\n\u003cfigure id=\"attachment_13896267\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg\" alt=\"The cover of The HUmpty Dance single\" width=\"600\" height=\"600\" class=\"size-full wp-image-13896267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Shock G’s cartoony illustrations laced Digital Underground’s album covers and inserts. \u003ccite>(Tommy Boy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs’ production credits, guest appearances and solo work continued long after the success of \u003cem>Sex Packets\u003c/em>, Digital Underground’s best-selling album. He appeared on the all-star remix of the Luniz’ “I Got 5 on It” with \u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">a who’s-who of Bay Area rap\u003c/a>, and produced songs for Mac Mall, Saafir and KRS-One. In 1998, Prince included his \u003ca href=\"https://www.youtube.com/watch?v=1vw9GqiAOv8\" rel=\"noopener noreferrer\" target=\"_blank\">remix\u003c/a> of “Love Sign” on his 1994 release \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Crystal_Ball_(box_set)\" rel=\"noopener noreferrer\" target=\"_blank\">Crystal Ball\u003c/a>\u003c/em>. Jacobs also toured with Parliament’s George Clinton, and performed in small clubs around the country as a solo artist. \u003c/p>\n\u003cp>Reaction to the news of Shock G’s death was swift:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>A return to indoor live events has come sooner than previously expected for San Francisco residents. Today, San Francisco Director of Health Dr. Grant Colfax and Mayor London Breed issued official guidelines to allow indoor live events, both public and private, to return with some limited capacity starting Thursday, April 15. \u003c/p>\n\u003cp>According to Mayor Breed’s office, indoor ticketed and seated events will be allowed to operate at a maximum capacity of 35%, with attendees required to show proof of a negative COVID test or vaccination for entry. All participants must keep their masks on except when eating and drinking while seated, and social distancing will be required according to state guidelines. Venues operating at up to 35% capacity must also have an approved Health and Safety Plan.\u003c/p>\n\u003cp>[aside postID='arts_13894499']Should a venue choose to operate at only 15% capacity or with less with 200 people, proof of a negative test or vaccination, as well as a Health and Safety Plan, will not be required. As for private indoor events like conventions, weddings and meetings, up to 150 attendees will be allowed with proof of vaccine or negative COVID test. \u003c/p>\n\u003cp>Outdoor venues will be allowed to expand capacity for live events and performances up to 50%. “Like indoor venues, outdoor venues may create vaccinated-only sections with relaxed distancing restrictions, subject to specified criteria and an approved health and safety plan,” the city’s statement reads.\u003c/p>\n\u003cp>Live music fans may have to wait a little longer than April 15 to return to their favorite concerts, however, as many music venues \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" rel=\"noopener noreferrer\" target=\"_blank\">do not plan to host events and concerts until the late summer or fall\u003c/a>, when they will be able to reopen at full capacity. Other performers, many of whom have been unable to rehearse together due to COVID, will need time to develop their productions, and venues that have been closed since the beginning of the pandemic need time to navigate \u003ca href=\"https://datebook.sfchronicle.com/entertainment/bay-areas-arts-organization-cautiously-optimistic-about-june-15-reopening/amp\" rel=\"noopener noreferrer\" target=\"_blank\">complex financial and logistical circumstances\u003c/a> posed by ever-changing guidelines and plans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13895321']“We know that much of what makes San Francisco special are the live performances and events,” said Mayor Breed. “We’ve all been missing these events over the last year… but we all need to keep doing our part to put safety first.”\u003c/p>\n\u003cp>San Francisco is also expanding capacity for social gatherings, both indoor and outdoor, as well as guidelines for “drive-ins, tour operators, childcare, sports and recreation, and institutes of higher education.” \u003c/p>\n\u003cp>San Francisco’s relatively low COVID-19 caseload and hospitalization rates have remained stable since early March 2021, and if cases go up, officials will reevaluate the new guidelines. Currently over 50% of San Francisco residents have received at least their first dose of the vaccine. Starting next Thursday, Apr. 15, the city plans to allow general access to the vaccine to anyone over the age of 16. \u003c/p>\n\u003cp>San Francisco’s public health guidelines can be found \u003ca href=\"https://www.sfdph.org/dph/alerts/coronavirus-health-directives.asp\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 9; it has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A return to indoor live events has come sooner than previously expected for San Francisco residents. Today, San Francisco Director of Health Dr. Grant Colfax and Mayor London Breed issued official guidelines to allow indoor live events, both public and private, to return with some limited capacity starting Thursday, April 15. \u003c/p>\n\u003cp>According to Mayor Breed’s office, indoor ticketed and seated events will be allowed to operate at a maximum capacity of 35%, with attendees required to show proof of a negative COVID test or vaccination for entry. All participants must keep their masks on except when eating and drinking while seated, and social distancing will be required according to state guidelines. Venues operating at up to 35% capacity must also have an approved Health and Safety Plan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We know that much of what makes San Francisco special are the live performances and events,” said Mayor Breed. “We’ve all been missing these events over the last year… but we all need to keep doing our part to put safety first.”\u003c/p>\n\u003cp>San Francisco is also expanding capacity for social gatherings, both indoor and outdoor, as well as guidelines for “drive-ins, tour operators, childcare, sports and recreation, and institutes of higher education.” \u003c/p>\n\u003cp>San Francisco’s relatively low COVID-19 caseload and hospitalization rates have remained stable since early March 2021, and if cases go up, officials will reevaluate the new guidelines. Currently over 50% of San Francisco residents have received at least their first dose of the vaccine. Starting next Thursday, Apr. 15, the city plans to allow general access to the vaccine to anyone over the age of 16. \u003c/p>\n\u003cp>San Francisco’s public health guidelines can be found \u003ca href=\"https://www.sfdph.org/dph/alerts/coronavirus-health-directives.asp\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 9; it has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Indie Movie Theaters in the Bay Area, an Uphill Climb to Reopening",
"headTitle": "For Indie Movie Theaters in the Bay Area, an Uphill Climb to Reopening | KQED",
"content": "\u003cp>On March 13 of last year, Lex Sloan had been planning for a sold-out weekend of movies at the \u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> when she decided to \u003ca href=\"https://www.roxie.com/a-message-to-our-patrons-regarding-covid-19/\" rel=\"noopener noreferrer\" target=\"_blank\">shut down\u003c/a>. “Health and public safety encouraged us to close our doors early and to remain closed,” explains Sloan, the executive director of the historic indie movie theater in San Francisco’s Mission District.\u003c/p>\n\u003cp>Now, over a year later, large theater chains in the Bay Area like AMC and Regency have reopened their multiplexes while most indie theaters remain closed, a result of reduced resources combined with social-distancing protocols. Smaller cinemas have been forced to innovate to stay afloat, leaning on \u003ca href=\"https://www.gofundme.com/f/rialto-cinemas-needs-your-help\" rel=\"noopener noreferrer\" target=\"_blank\">crowdfunding campaigns\u003c/a> and \u003ca href=\"https://www.thenewparkway.com/very-private-rentals/\" rel=\"noopener noreferrer\" target=\"_blank\">private theater rentals\u003c/a>. As for their reopening, Sloan has a simple prescription.\u003c/p>\n\u003cp>“San Franciscans and Bay Areans \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">getting vaccinated\u003c/a>,” she says. “That’s really the key.” \u003c/p>\n\u003ch2>Indie Theaters Hit Harder\u003c/h2>\n\u003cp>Until the pandemic fully recedes, indie theaters abide by the state’s \u003ca href=\"https://www.cinemasafe.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CinemaSafe\u003c/a> regulations, which mandate reduced capacity and social distancing in movie theaters. These rules make the indoor moviegoing experience safer—and, for many independent exhibitors, less profitable. Smaller venues with less seats, Zastrow explains, will have trouble reaching even 50% capacity while also maintaining six feet of distance between customers.\u003c/p>\n\u003cp>J Moses Caesar, general manager of the \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Parkway\u003c/a> in Oakland, concurs. “We had the opportunity to reopen in the fall,” Caesar says. “The numbers just did not pencil out for us, certainly at 25% [capacity] and probably not even at 50%.” Caesar admits the decision to reopen the New Parkway \u003ca href=\"https://twitter.com/TheNewParkway/status/1379630318064447497\" rel=\"noopener noreferrer\" target=\"_blank\">in September\u003c/a> is partially based on the hope that, by then, it will be allowed to operate as a “non-socially distanced theater.”\u003c/p>\n\u003cfigure id=\"attachment_13895685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/New.Parkway-800x600.jpg\" alt=\"The New Parkway auditorium, with couches and seats\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13895685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parkway in Oakland, with couches and household furniture as seating, may wait until social-distancing requirements are scaled back before reopening to the public. \u003ccite>(Flickr/mliu92)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan estimates that the Roxie will also probably lose money when it reopens. “With limited concessions at reduced capacity,” she says, “it’s very unlikely we will be able to break even for the first couple of months that we’re open.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But continued sales of virtual cinema tickets and memberships have given Sloan reason for optimism. This community support, she says, will make the financial losses workable.\u003c/p>\n\u003ch2>Innovations—and Obstacles\u003c/h2>\n\u003cp>Streaming cinema is one of many interim measures that smaller theaters have implemented—in addition to crowdfunding campaigns and private theater rentals—that may remain a fixture of post-pandemic moviegoing. As the specter of the virus looms over public gatherings, at-home digital cinema provides viewers who would rather watch from home with a steady supply of curated programming from their local indie theater. The Roxie Theater, Balboa Theater and the Smith Rafael Film Center have all incorporated a digital cinema arm since initially closing their physical doors.\u003c/p>\n\u003cp>Dan Zastrow, general manager and programmer at the \u003ca href=\"https://rafaelfilm.cafilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a>, has seen continued engagement with both in-person and virtual offerings since the theater reopened on March 5. “It’s kind of 50/50 in terms of attendance,” Zastrow says. “So, if these kinds of numbers keep holding true, it makes total sense to keep the streaming site going.” \u003c/p>\n\u003cp>Another pandemic-era feature that could possibly stay put is the \u003ca href=\"https://dothebay.com/events/weekly/sun/popcorn-parklet-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">parklet\u003c/a> that owner and operator Adam Bergeron installed in front of the \u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theater\u003c/a>. The parklet, which features an 80-inch screen and allows for concession sales, has enabled Bergeron to stay in contact with audiences in the absence of indoor screenings. \u003c/p>\n\u003cp>“The neighborhood has really responded to it,” says Bergeron. “I really hope that is something we keep up for as long as we can.”\u003c/p>\n\u003cfigure id=\"attachment_13895683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg\" alt=\"The Smith Rafael Film Center in San Rafael.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13895683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Smith Rafael Film Center in San Rafael. \u003ccite>(George Lazarus/Courtesy Smith Rafael Film Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more unwelcome innovation? Major film studios’ aggressive shifts in \u003ca href=\"https://variety.com/2021/film/news/disney-postpones-black-widow-shang-chi-1234935874/\" rel=\"noopener noreferrer\" target=\"_blank\">release strategy\u003c/a> as a response to COVID-19. Warner Bros., for example, is \u003ca href=\"https://www.hollywoodreporter.com/news/warner-bros-smashes-box-office-windows-will-send-2021-slate-to-hbo-max-and-theaters\" rel=\"noopener noreferrer\" target=\"_blank\">releasing its 2021 slate of films simultaneously\u003c/a> in cinemas and on HBOMax. In 2022, Warner will return to theatrical releases, but with a \u003ca href=\"https://www.theverge.com/2021/3/23/22346613/warner-bros-theatrical-releases-2022-hbo-max\" rel=\"noopener noreferrer\" target=\"_blank\">much shorter window of exclusivity\u003c/a>—only 45 days, as opposed to the pre-pandemic 90—that is quickly coalescing as the \u003ca href=\"https://www.cnet.com/news/paramount-plus-to-stream-big-screen-movies-45-days-after-they-hit-theaters/\" rel=\"noopener noreferrer\" target=\"_blank\">new industry standard\u003c/a>.\u003c/p>\n\u003cp>“The theatrical window has irrevocably changed,” admits Ky J. Boyd, director of the \u003ca href=\"https://rialtocinemas.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rialto Cinemas\u003c/a> theaters in Sebastopol, Berkeley and El Cerrito. Titles like Disney’s \u003cem>Luca\u003c/em> \u003ca href=\"https://collider.com/luca-disney-plus-release-date-pixar-movie-details/\" rel=\"noopener noreferrer\" target=\"_blank\">bypassing theaters\u003c/a> for streamers, he says, is a “concerning factor” for him and other exhibitors.\u003c/p>\n\u003ch2>‘We Know Our Customers’ Names’\u003c/h2>\n\u003cp>But many indie theaters see themselves as adaptable to these changes, in a way that the larger theater chains—who depend almost exclusively on studio blockbusters for traffic—aren’t. “We’ve never relied on the Disney hits to keep our theater going,” says Sloan. “At the megaplexes, you’ll see Godzilla vs. Whoever on their screens, like, all week long. At the Roxie, we usually do 14 different titles a week.”\u003c/p>\n\u003cp>Upcoming programming across Bay Area arthouses follows this niche model, guided by local tastes and suggestions. The Balboa is reopening May 14 with a festival of 10 classic Godzilla flicks; the New Parkway is planning a series of theme weeks; and the Rafael is currently showing quirky documentaries and Academy Award-nominated films on 35mm.\u003c/p>\n\u003cp>[aside postID='arts_13894499']It’s this kind of community-driven, creative ethos that theater owners confidently predict will help them maneuver around national chains and reignite their neighborhoods’ desire to come back to the movies. “We know our customers’ names, and they know our names,” says Bergeron. Zastrow echoes: “We are an integral part of the community.”\u003c/p>\n\u003cp>And after a year of darkened auditoriums, reconnecting with their local communities is a buoying prospect for these Bay Area institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I do think that theaters are going to continue to be a place where audiences discover film, whether it’s indie film or mid-size releases,” says Boyd, voicing a shared sense of optimism among indie cinemas. “Because there’s only so much that the streaming services have.”\u003c/p>\n\n",
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"excerpt": "The Roxie, New Parkway, Rafael, Rialto and Balboa Theaters all face challenges—and possibly, permanent changes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On March 13 of last year, Lex Sloan had been planning for a sold-out weekend of movies at the \u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie\u003c/a> when she decided to \u003ca href=\"https://www.roxie.com/a-message-to-our-patrons-regarding-covid-19/\" rel=\"noopener noreferrer\" target=\"_blank\">shut down\u003c/a>. “Health and public safety encouraged us to close our doors early and to remain closed,” explains Sloan, the executive director of the historic indie movie theater in San Francisco’s Mission District.\u003c/p>\n\u003cp>Now, over a year later, large theater chains in the Bay Area like AMC and Regency have reopened their multiplexes while most indie theaters remain closed, a result of reduced resources combined with social-distancing protocols. Smaller cinemas have been forced to innovate to stay afloat, leaning on \u003ca href=\"https://www.gofundme.com/f/rialto-cinemas-needs-your-help\" rel=\"noopener noreferrer\" target=\"_blank\">crowdfunding campaigns\u003c/a> and \u003ca href=\"https://www.thenewparkway.com/very-private-rentals/\" rel=\"noopener noreferrer\" target=\"_blank\">private theater rentals\u003c/a>. As for their reopening, Sloan has a simple prescription.\u003c/p>\n\u003cp>“San Franciscans and Bay Areans \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">getting vaccinated\u003c/a>,” she says. “That’s really the key.” \u003c/p>\n\u003ch2>Indie Theaters Hit Harder\u003c/h2>\n\u003cp>Until the pandemic fully recedes, indie theaters abide by the state’s \u003ca href=\"https://www.cinemasafe.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CinemaSafe\u003c/a> regulations, which mandate reduced capacity and social distancing in movie theaters. These rules make the indoor moviegoing experience safer—and, for many independent exhibitors, less profitable. Smaller venues with less seats, Zastrow explains, will have trouble reaching even 50% capacity while also maintaining six feet of distance between customers.\u003c/p>\n\u003cp>J Moses Caesar, general manager of the \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener noreferrer\" target=\"_blank\">New Parkway\u003c/a> in Oakland, concurs. “We had the opportunity to reopen in the fall,” Caesar says. “The numbers just did not pencil out for us, certainly at 25% [capacity] and probably not even at 50%.” Caesar admits the decision to reopen the New Parkway \u003ca href=\"https://twitter.com/TheNewParkway/status/1379630318064447497\" rel=\"noopener noreferrer\" target=\"_blank\">in September\u003c/a> is partially based on the hope that, by then, it will be allowed to operate as a “non-socially distanced theater.”\u003c/p>\n\u003cfigure id=\"attachment_13895685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/New.Parkway-800x600.jpg\" alt=\"The New Parkway auditorium, with couches and seats\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13895685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/New.Parkway.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parkway in Oakland, with couches and household furniture as seating, may wait until social-distancing requirements are scaled back before reopening to the public. \u003ccite>(Flickr/mliu92)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sloan estimates that the Roxie will also probably lose money when it reopens. “With limited concessions at reduced capacity,” she says, “it’s very unlikely we will be able to break even for the first couple of months that we’re open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But continued sales of virtual cinema tickets and memberships have given Sloan reason for optimism. This community support, she says, will make the financial losses workable.\u003c/p>\n\u003ch2>Innovations—and Obstacles\u003c/h2>\n\u003cp>Streaming cinema is one of many interim measures that smaller theaters have implemented—in addition to crowdfunding campaigns and private theater rentals—that may remain a fixture of post-pandemic moviegoing. As the specter of the virus looms over public gatherings, at-home digital cinema provides viewers who would rather watch from home with a steady supply of curated programming from their local indie theater. The Roxie Theater, Balboa Theater and the Smith Rafael Film Center have all incorporated a digital cinema arm since initially closing their physical doors.\u003c/p>\n\u003cp>Dan Zastrow, general manager and programmer at the \u003ca href=\"https://rafaelfilm.cafilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Smith Rafael Film Center\u003c/a>, has seen continued engagement with both in-person and virtual offerings since the theater reopened on March 5. “It’s kind of 50/50 in terms of attendance,” Zastrow says. “So, if these kinds of numbers keep holding true, it makes total sense to keep the streaming site going.” \u003c/p>\n\u003cp>Another pandemic-era feature that could possibly stay put is the \u003ca href=\"https://dothebay.com/events/weekly/sun/popcorn-parklet-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">parklet\u003c/a> that owner and operator Adam Bergeron installed in front of the \u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theater\u003c/a>. The parklet, which features an 80-inch screen and allows for concession sales, has enabled Bergeron to stay in contact with audiences in the absence of indoor screenings. \u003c/p>\n\u003cp>“The neighborhood has really responded to it,” says Bergeron. “I really hope that is something we keep up for as long as we can.”\u003c/p>\n\u003cfigure id=\"attachment_13895683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg\" alt=\"The Smith Rafael Film Center in San Rafael.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13895683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Smith.Rafael.Film_.Center.GeorgeLazarus.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Smith Rafael Film Center in San Rafael. \u003ccite>(George Lazarus/Courtesy Smith Rafael Film Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A more unwelcome innovation? Major film studios’ aggressive shifts in \u003ca href=\"https://variety.com/2021/film/news/disney-postpones-black-widow-shang-chi-1234935874/\" rel=\"noopener noreferrer\" target=\"_blank\">release strategy\u003c/a> as a response to COVID-19. Warner Bros., for example, is \u003ca href=\"https://www.hollywoodreporter.com/news/warner-bros-smashes-box-office-windows-will-send-2021-slate-to-hbo-max-and-theaters\" rel=\"noopener noreferrer\" target=\"_blank\">releasing its 2021 slate of films simultaneously\u003c/a> in cinemas and on HBOMax. In 2022, Warner will return to theatrical releases, but with a \u003ca href=\"https://www.theverge.com/2021/3/23/22346613/warner-bros-theatrical-releases-2022-hbo-max\" rel=\"noopener noreferrer\" target=\"_blank\">much shorter window of exclusivity\u003c/a>—only 45 days, as opposed to the pre-pandemic 90—that is quickly coalescing as the \u003ca href=\"https://www.cnet.com/news/paramount-plus-to-stream-big-screen-movies-45-days-after-they-hit-theaters/\" rel=\"noopener noreferrer\" target=\"_blank\">new industry standard\u003c/a>.\u003c/p>\n\u003cp>“The theatrical window has irrevocably changed,” admits Ky J. Boyd, director of the \u003ca href=\"https://rialtocinemas.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Rialto Cinemas\u003c/a> theaters in Sebastopol, Berkeley and El Cerrito. Titles like Disney’s \u003cem>Luca\u003c/em> \u003ca href=\"https://collider.com/luca-disney-plus-release-date-pixar-movie-details/\" rel=\"noopener noreferrer\" target=\"_blank\">bypassing theaters\u003c/a> for streamers, he says, is a “concerning factor” for him and other exhibitors.\u003c/p>\n\u003ch2>‘We Know Our Customers’ Names’\u003c/h2>\n\u003cp>But many indie theaters see themselves as adaptable to these changes, in a way that the larger theater chains—who depend almost exclusively on studio blockbusters for traffic—aren’t. “We’ve never relied on the Disney hits to keep our theater going,” says Sloan. “At the megaplexes, you’ll see Godzilla vs. Whoever on their screens, like, all week long. At the Roxie, we usually do 14 different titles a week.”\u003c/p>\n\u003cp>Upcoming programming across Bay Area arthouses follows this niche model, guided by local tastes and suggestions. The Balboa is reopening May 14 with a festival of 10 classic Godzilla flicks; the New Parkway is planning a series of theme weeks; and the Rafael is currently showing quirky documentaries and Academy Award-nominated films on 35mm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s this kind of community-driven, creative ethos that theater owners confidently predict will help them maneuver around national chains and reignite their neighborhoods’ desire to come back to the movies. “We know our customers’ names, and they know our names,” says Bergeron. Zastrow echoes: “We are an integral part of the community.”\u003c/p>\n\u003cp>And after a year of darkened auditoriums, reconnecting with their local communities is a buoying prospect for these Bay Area institutions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I do think that theaters are going to continue to be a place where audiences discover film, whether it’s indie film or mid-size releases,” says Boyd, voicing a shared sense of optimism among indie cinemas. “Because there’s only so much that the streaming services have.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rapper-Actor DMX, Known for Gruff, Raw Delivery, Dead at 50",
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"content": "\u003cp>NEW YORK (AP) — DMX, the raspy-voiced hip-hop artist who produced the songs “Ruff Ryders’ Anthem” and “Party Up (Up in Here)” and who rapped with a trademark delivery that was often paired with growls, barks and “What!” as an ad-lib, has died, according to a statement from his family. He was 50.\u003c/p>\n\u003cp>The Grammy-nominated performer died after suffering “catastrophic cardiac arrest,” according to the hospital in White Plains, New York, where he died. He was rushed there from his home April 2.\u003c/p>\n\u003cp>A statement from relatives said he died “with his family by his side after being placed on life support for the past few days.”\u003c/p>\n\u003cp>The rapper, whose real name is Earl Simmons, had struggled with drug addiction since his teenage years. His lawyer, Murray Richman, had earlier said he could not confirm reports that DMX overdosed.\u003c/p>\n\u003cp>DMX made a splash in rap music in 1998 with his first studio album, “It’s Dark and Hell is Hot,” which debuted No. 1 on the Billboard 200 albums chart. The multiplatinum-selling album was anchored by several hits including “Ruff Ryders’ Anthem,” “Get At Me Dog,” “Stop Being Greedy” and “How It’s Goin’ Down.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>DMX followed up with four straight chart-topping albums including “… And Then There Was X,” “Flesh of My Flesh, Blood of My Blood,” “The Great Depression” and “Grand Champ.” He released seven albums, earned three Grammy nominations and was named favorite rap/hip-hop artist at the 2000 American Music Awards.\u003c/p>\n\u003cp>DMX arrived on the rap scene around the same time as Jay-Z, Ja Rule and others who dominated the charts and emerged as platinum-selling acts. They were all part of rap crews, too: DMX fronted the Ruff Ryders collective, which helped launch the careers of Grammy winners Eve and Swizz Beatz, and relaunch The Lox, formerly signed to Bad Boy Records. Ruff Ryders had success on the charts and on radio with its “Ryde or Die” compilation albums.\u003c/p>\n\u003cp>Along with his musical career, DMX paved his way as an actor. He starred in the 1998 film “Belly” and appeared in 2000’s “Romeo Must Die” with Jet Li and Aaliyah. DMX and Aaliyah teamed up for “Come Back in One Piece” on the film’s soundtrack.\u003c/p>\n\u003cp>The rapper would later open Aaliyah’s tribute music video, “Miss You,” alongside her other friends and collaborators, including Missy Elliott, Lil’ Kim and Queen Latifah, after Aaliyah’s 2001 death in a plane crash at age 22.\u003c/p>\n\u003cp>The rapper also starred in 2001’s “Exit Wounds” with Steven Seagal and 2003’s “Cradle 2 the Grave” with Li.\u003c/p>\n\u003cp>But while DMX made his mark as one of hip-hop’s most recognizable names for his rap artistry and as an actor, the rapper was personally stifled by his legal battles — he was repeatedly arrested and jailed within a decade — and drug addiction. His addiction first took hold at age 14 when smoked a marijuana cigarette that was laced with cocaine.\u003c/p>\n\u003cp>DMX pleaded guilty in 2004 after he posed as an undercover federal agent a nd crashed his SUV through a security gate at New York’s Kennedy Airport. He was arrested in 2008 on drug and animal cruelty charges following an overnight raid on his house in Phoenix. He tried to barricade himself in his bedroom but emerged when a SWAT team entered his home.\u003c/p>\n\u003cp>In 2010, he was sentenced to a year in prison for violating terms of his probation. After he was admitted to rehab numerous times over the next year, he said he had finally beat his drug addiction.\u003c/p>\n\u003cp>First responders helped bring DMX back to life after he was found in a hotel parking lot in New York in 2016. The rapper said he suffered from asthma.\u003c/p>\n\u003cp>A couple years later, DMX was sentenced to a year in prison for tax fraud. Prosecutors said he concocted a multiyear scheme to hide millions of dollars in income from the IRS and get around nearly $2 million in tax liabilities.\u003c/p>\n\u003cp>After his release, DMX planned a 32-date tour to mark the 20th anniversary of “It’s Dark and Hell is Hot.” But the rapper canceled a series of shows to check himself into a rehab facility in 2019. In an Instagram post, his team said he apologized for the canceled shows and thanked his fans for the continued support.\u003c/p>\n\u003cp>Besides his legal troubles, DMX took the initiative to help the less fortunate. He gave a group of Philadelphia men advice during a surprise appearance at a homeless support group meeting in 2017, and helped a Maine family with its back-to-school purchases a couple years later.\u003c/p>\n\u003cp>Last year, DMX faced off against Snoop Dogg in a Verzuz battle, which drew more than 500,000 viewers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his 15 children and mother.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NEW YORK (AP) — DMX, the raspy-voiced hip-hop artist who produced the songs “Ruff Ryders’ Anthem” and “Party Up (Up in Here)” and who rapped with a trademark delivery that was often paired with growls, barks and “What!” as an ad-lib, has died, according to a statement from his family. He was 50.\u003c/p>\n\u003cp>The Grammy-nominated performer died after suffering “catastrophic cardiac arrest,” according to the hospital in White Plains, New York, where he died. He was rushed there from his home April 2.\u003c/p>\n\u003cp>A statement from relatives said he died “with his family by his side after being placed on life support for the past few days.”\u003c/p>\n\u003cp>The rapper, whose real name is Earl Simmons, had struggled with drug addiction since his teenage years. His lawyer, Murray Richman, had earlier said he could not confirm reports that DMX overdosed.\u003c/p>\n\u003cp>DMX made a splash in rap music in 1998 with his first studio album, “It’s Dark and Hell is Hot,” which debuted No. 1 on the Billboard 200 albums chart. The multiplatinum-selling album was anchored by several hits including “Ruff Ryders’ Anthem,” “Get At Me Dog,” “Stop Being Greedy” and “How It’s Goin’ Down.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>DMX followed up with four straight chart-topping albums including “… And Then There Was X,” “Flesh of My Flesh, Blood of My Blood,” “The Great Depression” and “Grand Champ.” He released seven albums, earned three Grammy nominations and was named favorite rap/hip-hop artist at the 2000 American Music Awards.\u003c/p>\n\u003cp>DMX arrived on the rap scene around the same time as Jay-Z, Ja Rule and others who dominated the charts and emerged as platinum-selling acts. They were all part of rap crews, too: DMX fronted the Ruff Ryders collective, which helped launch the careers of Grammy winners Eve and Swizz Beatz, and relaunch The Lox, formerly signed to Bad Boy Records. Ruff Ryders had success on the charts and on radio with its “Ryde or Die” compilation albums.\u003c/p>\n\u003cp>Along with his musical career, DMX paved his way as an actor. He starred in the 1998 film “Belly” and appeared in 2000’s “Romeo Must Die” with Jet Li and Aaliyah. DMX and Aaliyah teamed up for “Come Back in One Piece” on the film’s soundtrack.\u003c/p>\n\u003cp>The rapper would later open Aaliyah’s tribute music video, “Miss You,” alongside her other friends and collaborators, including Missy Elliott, Lil’ Kim and Queen Latifah, after Aaliyah’s 2001 death in a plane crash at age 22.\u003c/p>\n\u003cp>The rapper also starred in 2001’s “Exit Wounds” with Steven Seagal and 2003’s “Cradle 2 the Grave” with Li.\u003c/p>\n\u003cp>But while DMX made his mark as one of hip-hop’s most recognizable names for his rap artistry and as an actor, the rapper was personally stifled by his legal battles — he was repeatedly arrested and jailed within a decade — and drug addiction. His addiction first took hold at age 14 when smoked a marijuana cigarette that was laced with cocaine.\u003c/p>\n\u003cp>DMX pleaded guilty in 2004 after he posed as an undercover federal agent a nd crashed his SUV through a security gate at New York’s Kennedy Airport. He was arrested in 2008 on drug and animal cruelty charges following an overnight raid on his house in Phoenix. He tried to barricade himself in his bedroom but emerged when a SWAT team entered his home.\u003c/p>\n\u003cp>In 2010, he was sentenced to a year in prison for violating terms of his probation. After he was admitted to rehab numerous times over the next year, he said he had finally beat his drug addiction.\u003c/p>\n\u003cp>First responders helped bring DMX back to life after he was found in a hotel parking lot in New York in 2016. The rapper said he suffered from asthma.\u003c/p>\n\u003cp>A couple years later, DMX was sentenced to a year in prison for tax fraud. Prosecutors said he concocted a multiyear scheme to hide millions of dollars in income from the IRS and get around nearly $2 million in tax liabilities.\u003c/p>\n\u003cp>After his release, DMX planned a 32-date tour to mark the 20th anniversary of “It’s Dark and Hell is Hot.” But the rapper canceled a series of shows to check himself into a rehab facility in 2019. In an Instagram post, his team said he apologized for the canceled shows and thanked his fans for the continued support.\u003c/p>\n\u003cp>Besides his legal troubles, DMX took the initiative to help the less fortunate. He gave a group of Philadelphia men advice during a surprise appearance at a homeless support group meeting in 2017, and helped a Maine family with its back-to-school purchases a couple years later.\u003c/p>\n\u003cp>Last year, DMX faced off against Snoop Dogg in a Verzuz battle, which drew more than 500,000 viewers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his 15 children and mother.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking",
"headTitle": "Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking | KQED",
"content": "\u003cp>On Monday, April 5, a lawsuit was brought against Bassnectar by two women who say they had sexual relationships with the Santa Cruz DJ-producer while they were still underage. The case also accuses the EDM star—real name Lorin Ashton—of human trafficking, as well as making and possessing child pornography. [aside postid='arts_13883674']\u003c/p>\n\u003cp>Co-defendants in the lawsuit include San Francisco record label \u003ca href=\"https://www.amorphousmusic.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Amorphous Music\u003c/a>, along with Bassnectar Touring, \u003ca href=\"https://electronicdivision.redlightmanagement.com/artistmanagement/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Management\u003c/a>, \u003ca href=\"https://www.c3presents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">C3 Presents\u003c/a> and the \u003ca href=\"https://interactivegivingfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Interactive Giving Fund\u003c/a> organization. In a \u003ca href=\"https://www.laffeybuccikent.com/world-famous-dj-bassnectar-management-companies-sued-for-human-trafficking-and-sexual-abuse/?fbclid=IwAR3JexSpeAYDCAS1ZVNZSuTWsexet2Bs9GaKjz1otHxsvnoNQlVoaBjoCMo\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>, a lawyer acting on behalf of Ashton’s accusers, Rachel Ramsbottom and Alexis Bowling, said: “This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed.”\u003c/p>\n\u003cp>Ashton’s attorney Mitchell Schuster, \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-lawsuit-sexual-abuse-child-pornography-allegations-1151652/\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement to \u003cem>Rolling Stone\u003c/em>\u003c/a>, called the accusations by Ramsbottom and Bowling “outrageous claims.” He also suggested they were “clearly designed for the media, rather than the courts.”\u003c/p>\n\u003cp>Ashton announced he was \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-sexual-misconduct-allegations-1024324/\" target=\"_blank\" rel=\"noopener noreferrer\">stepping back\u003c/a> from music nine months ago, after multiple allegations about his relationships with young women and girls emerged online. These allegations, along with screenshots of emails and DMs from Ashton, were primarily gathered and shared by the \u003ca href=\"https://www.instagram.com/evidenceagainstbassnectar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@EvidenceAgainstBassnectar\u003c/a> Instagram account that launched in June 2020.\u003c/p>\n\u003cp>Ramsbottom and Bowling say Ashton initiated contact with them both via Twitter, initially in the manner of a friend and mentor. Interactions, they say, later became suggestive. Both say they had sex with him while underage, and that he solicited explicit photos from them. Ramsbottom says that several years later, Ashton offered her money to stay quiet about their former relationship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the details included in Ramsbottom and Bowling’s lawsuit had already been posted to the @EvidenceAgainstBassnectar Instagram page. Multiple stories shared by the account accuse Ashton of knowingly engaging in \u003ca href=\"https://www.instagram.com/p/CCAmhzFpdPJ/\" target=\"_blank\" rel=\"noopener noreferrer\">sex with minors\u003c/a>, listing “young girls” on \u003ca href=\"https://www.instagram.com/p/CCCBd6VpEmC/\" target=\"_blank\" rel=\"noopener noreferrer\">his rider\u003c/a>, targeting \u003ca href=\"https://www.instagram.com/p/CCEia1apHy6/\" target=\"_blank\" rel=\"noopener noreferrer\">underage girls\u003c/a> online, using methods of \u003ca href=\"https://www.instagram.com/p/CCHUtODJCgn/\" target=\"_blank\" rel=\"noopener noreferrer\">grooming\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CCDV9JkpK-C/\" target=\"_blank\" rel=\"noopener noreferrer\">emotional manipulation\u003c/a>, trying to make girls \u003ca href=\"https://www.instagram.com/p/CB_5_54Jo7M/\" target=\"_blank\" rel=\"noopener noreferrer\">sign NDAs\u003c/a> and encouraging fans to \u003ca href=\"https://www.instagram.com/p/CB_7dy6JIfF/\" target=\"_blank\" rel=\"noopener noreferrer\">bully his critics\u003c/a>. One post claims that the rumors about his relationships with underage girls date all the way \u003ca href=\"https://www.instagram.com/p/CB_1A9FJuT3/\" target=\"_blank\" rel=\"noopener noreferrer\">back to 2010\u003c/a>.\u003c/p>\n\u003cp>Former Bassnectar collaborators \u003ca href=\"https://mimipagemusic.tumblr.com/post/624224339345244160/an-open-letter-to-lorin-ashton-bassnectar-from\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Page\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CB_1v3LJRvZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Miranda Hughes\u003c/a> have since publicly denounced Ashton. But @EvidenceAgainstBassnectar has also inspired some of his former lovers to write Tumblr essays detailing their own negative experiences with him. “\u003ca href=\"https://mynameislauren2020.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Name Is Lauren\u003c/a>” accuses Ashton of committing “psychological abuse for his own perverse pleasure” and “inappropriately target[ing] young women.” And the “\u003ca href=\"https://psychicprincesscreation.tumblr.com/post/623014073571885056/some-notesedits-made-77-bassnectar-told-me\" target=\"_blank\" rel=\"noopener noreferrer\">My EAB\u003c/a>” page claims that Ashton “DEFINITELY knows he’s doing something wrong, otherwise he wouldn’t be sharing that hush money with you, or asking you to hide and delete everything.” [aside postid='pop_61190']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ashton, who rose to fame playing sets at Burning Man and EDM parties in San Francisco, has long publicly identified as anti-sexist. (In one private\u003ca href=\"https://www.instagram.com/p/CCDHkryJwZI/\" target=\"_blank\" rel=\"noopener noreferrer\"> message\u003c/a> shared by @EvidenceAgainstBassnectar, he describes himself as “an earnest feminist, and a total ally.”) In a \u003ca href=\"https://www.instagram.com/p/CCMigC_gkXL/\" target=\"_blank\" rel=\"noopener noreferrer\">statement shared in a private Facebook fan group\u003c/a> last June, the DJ firmly defended himself. “The rumors of sexual misconduct that are circulating about me are completely untrue,” he wrote. “I have never been involved in anything that was not absolutely, unequivocally consensual … I have always supported victims of abuse and assault. I have protected women my whole life and I would simply never harm a woman.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, April 5, a lawsuit was brought against Bassnectar by two women who say they had sexual relationships with the Santa Cruz DJ-producer while they were still underage. The case also accuses the EDM star—real name Lorin Ashton—of human trafficking, as well as making and possessing child pornography. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Co-defendants in the lawsuit include San Francisco record label \u003ca href=\"https://www.amorphousmusic.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Amorphous Music\u003c/a>, along with Bassnectar Touring, \u003ca href=\"https://electronicdivision.redlightmanagement.com/artistmanagement/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Management\u003c/a>, \u003ca href=\"https://www.c3presents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">C3 Presents\u003c/a> and the \u003ca href=\"https://interactivegivingfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Interactive Giving Fund\u003c/a> organization. In a \u003ca href=\"https://www.laffeybuccikent.com/world-famous-dj-bassnectar-management-companies-sued-for-human-trafficking-and-sexual-abuse/?fbclid=IwAR3JexSpeAYDCAS1ZVNZSuTWsexet2Bs9GaKjz1otHxsvnoNQlVoaBjoCMo\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>, a lawyer acting on behalf of Ashton’s accusers, Rachel Ramsbottom and Alexis Bowling, said: “This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed.”\u003c/p>\n\u003cp>Ashton’s attorney Mitchell Schuster, \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-lawsuit-sexual-abuse-child-pornography-allegations-1151652/\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement to \u003cem>Rolling Stone\u003c/em>\u003c/a>, called the accusations by Ramsbottom and Bowling “outrageous claims.” He also suggested they were “clearly designed for the media, rather than the courts.”\u003c/p>\n\u003cp>Ashton announced he was \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-sexual-misconduct-allegations-1024324/\" target=\"_blank\" rel=\"noopener noreferrer\">stepping back\u003c/a> from music nine months ago, after multiple allegations about his relationships with young women and girls emerged online. These allegations, along with screenshots of emails and DMs from Ashton, were primarily gathered and shared by the \u003ca href=\"https://www.instagram.com/evidenceagainstbassnectar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@EvidenceAgainstBassnectar\u003c/a> Instagram account that launched in June 2020.\u003c/p>\n\u003cp>Ramsbottom and Bowling say Ashton initiated contact with them both via Twitter, initially in the manner of a friend and mentor. Interactions, they say, later became suggestive. Both say they had sex with him while underage, and that he solicited explicit photos from them. Ramsbottom says that several years later, Ashton offered her money to stay quiet about their former relationship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the details included in Ramsbottom and Bowling’s lawsuit had already been posted to the @EvidenceAgainstBassnectar Instagram page. Multiple stories shared by the account accuse Ashton of knowingly engaging in \u003ca href=\"https://www.instagram.com/p/CCAmhzFpdPJ/\" target=\"_blank\" rel=\"noopener noreferrer\">sex with minors\u003c/a>, listing “young girls” on \u003ca href=\"https://www.instagram.com/p/CCCBd6VpEmC/\" target=\"_blank\" rel=\"noopener noreferrer\">his rider\u003c/a>, targeting \u003ca href=\"https://www.instagram.com/p/CCEia1apHy6/\" target=\"_blank\" rel=\"noopener noreferrer\">underage girls\u003c/a> online, using methods of \u003ca href=\"https://www.instagram.com/p/CCHUtODJCgn/\" target=\"_blank\" rel=\"noopener noreferrer\">grooming\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CCDV9JkpK-C/\" target=\"_blank\" rel=\"noopener noreferrer\">emotional manipulation\u003c/a>, trying to make girls \u003ca href=\"https://www.instagram.com/p/CB_5_54Jo7M/\" target=\"_blank\" rel=\"noopener noreferrer\">sign NDAs\u003c/a> and encouraging fans to \u003ca href=\"https://www.instagram.com/p/CB_7dy6JIfF/\" target=\"_blank\" rel=\"noopener noreferrer\">bully his critics\u003c/a>. One post claims that the rumors about his relationships with underage girls date all the way \u003ca href=\"https://www.instagram.com/p/CB_1A9FJuT3/\" target=\"_blank\" rel=\"noopener noreferrer\">back to 2010\u003c/a>.\u003c/p>\n\u003cp>Former Bassnectar collaborators \u003ca href=\"https://mimipagemusic.tumblr.com/post/624224339345244160/an-open-letter-to-lorin-ashton-bassnectar-from\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Page\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CB_1v3LJRvZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Miranda Hughes\u003c/a> have since publicly denounced Ashton. But @EvidenceAgainstBassnectar has also inspired some of his former lovers to write Tumblr essays detailing their own negative experiences with him. “\u003ca href=\"https://mynameislauren2020.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Name Is Lauren\u003c/a>” accuses Ashton of committing “psychological abuse for his own perverse pleasure” and “inappropriately target[ing] young women.” And the “\u003ca href=\"https://psychicprincesscreation.tumblr.com/post/623014073571885056/some-notesedits-made-77-bassnectar-told-me\" target=\"_blank\" rel=\"noopener noreferrer\">My EAB\u003c/a>” page claims that Ashton “DEFINITELY knows he’s doing something wrong, otherwise he wouldn’t be sharing that hush money with you, or asking you to hide and delete everything.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ashton, who rose to fame playing sets at Burning Man and EDM parties in San Francisco, has long publicly identified as anti-sexist. (In one private\u003ca href=\"https://www.instagram.com/p/CCDHkryJwZI/\" target=\"_blank\" rel=\"noopener noreferrer\"> message\u003c/a> shared by @EvidenceAgainstBassnectar, he describes himself as “an earnest feminist, and a total ally.”) In a \u003ca href=\"https://www.instagram.com/p/CCMigC_gkXL/\" target=\"_blank\" rel=\"noopener noreferrer\">statement shared in a private Facebook fan group\u003c/a> last June, the DJ firmly defended himself. “The rumors of sexual misconduct that are circulating about me are completely untrue,” he wrote. “I have never been involved in anything that was not absolutely, unequivocally consensual … I have always supported victims of abuse and assault. I have protected women my whole life and I would simply never harm a woman.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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