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"content": "\u003cfigure id=\"attachment_13891129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg\" alt=\"Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 as they pose for a photo while holding a copy of the book, 'Seize the Time.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 while holding a copy of the book ‘Seize the Time.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>rchivist Lisbet Tellefsen collects Black cultural artifacts like kids used to collect baseball cards back in the day.\u003c/p>\n\u003cp>Lucky for us, she shares her collection with the world. Dozens of pieces from her personal archive are housed at museums across the country, including the Oakland Musuem of California and the Smithsonian National Museum of African American History and Culture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The archives of the now-defunct publication that she co-founded in the late ’80s,\u003ca href=\"https://archives.yale.edu/subjects/27815\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Aché\u003c/em>\u003c/a>, which focused on stories of Black lesbians and featured the work of Audre Lorde, Pat Parker, and Barbara Smith, are housed at Yale. Tellefsen provided archival research for Stanley Nelson’s documentary \u003cem>Black Panthers: Vanguard of the Revolution \u003c/em>and Shola Lynch’s \u003cem>Free Angela and All Political Prisoners\u003c/em>.\u003c/p>\n\u003cp>Five years ago, when I wrote about the history of the\u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Panther school, \u003c/a>Tellefsen sent me photos of Rosa Parks and Maya Angelou inside the school’s former site in East Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And now Tellefsen has included over 100 pieces from her archive of the famed scholar and prison abolitionist Angela Davis in the 192-page book \u003ci>\u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo68160170.html\" target=\"_blank\" rel=\"noopener noreferrer\">Seize The Time\u003c/a>\u003c/i> (published September 2020 by the University of Chicago Press; $45). With a mix of archival photos, contemporary art, essays and interviews, \u003cem>Seize the Time\u003c/em> paints a picture of Davis’ life—at a time when her work couldn’t be more important.\u003c/p>\n\u003cfigure id=\"attachment_13891128\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg\" alt=\"A collage of Angela Davis posters from the Lisbet Tellefsen collection\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-2048x1406.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1920x1318.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collage of Angela Davis posters from the Lisbet Tellefsen collection. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> centerpiece of the \u003cem>Seize the Time\u003c/em> is a timeline of Davis’ life, starting with her childhood in the racially segregated “\u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/06/197342590/remembering-birminghams-dynamite-hill-neighborhood\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamite Hill\u003c/a>” neighborhood of Birmingham, Alabama, a place that earned its nickname from white people using explosives to attack Black residents. Along the way, Tellefsen fits many of the details of Davis’ life into the timeline’s 12-page spread—her professorship at UCLA, her involvement with the Black Panthers, her 16-month incarceration and acquittal, her work in Eastern Bloc countries and other political activism—ending with Davis’ induction into the National Women’s Hall of Fame in Sceneca Falls, New York, in 2019.\u003c/p>\n\u003cp>The book is both a piece of history and a piece of art. Posters of Davis’ face are accompanied by messages written in German, French and Spanish, as well as mugshots and courtroom renderings. And in a bridge to the new generation, images from artist Sadie Barnette’s project \u003cem>Dear 1968\u003c/em>—her “\u003ca href=\"https://www.sadiebarnette.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">My Father’s FBI Files\u003c/a>\u003cem>“\u003c/em> piece—are included.\u003c/p>\n\u003cp>Some of the same archival items are currently showing in the exhibit that Tellefsen co-curated, \u003ca style=\"color: #41a62a\" href=\"https://www.glbthistory.org/angela-davis\" target=\"_blank\" rel=\"noopener noreferrer\">called \u003cem>OUTspoken,\u003c/em>\u003c/a> hosted virtually by the GLBT Historical Society.\u003c/p>\n\u003cfigure id=\"attachment_13891131\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg\" alt=\"Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1536x1132.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4.jpg 1686w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artistic aspect of the book fits. “I think that I feel the most free when I’m in the presence of great art with others,” says Davis, in a transcribed conversation with the Oakland Museum of California’s senior curator René de Guzman. “I think art teaches us how to feel free, how to feel free even as we are compelled to live under conditions of un-freedom.”\u003c/p>\n\u003cp>One of the book’s essays comes from historian and professor Gerry Beegan (who co-edited the book with Donna Gustafson), focusing on the role graphic arts and mixed media played in the spread of Davis’ story. There’s also a piece from writer and professor Nicole R. Fleetwood about the significance of Davis’ “fearless activism” in spite of the oppressive forces Black women face in America.\u003c/p>\n\u003cfigure id=\"attachment_13891132\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg\" alt=\"A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970\" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1594x2048.jpg 1594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1920x2466.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-scaled.jpg 1993w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was writing for an audience of one,” says Tellefsen, who despite knowing Davis for years says she was still very mindful to properly represent her. At one point, she tells me, she asked Davis if she preferred to be labeled as queer or lesbian. “She’s like, ‘I don’t mind it,'” Tellefsen recalls her saying, “I’d prefer anti-racist, anti-capitalist.”\u003c/p>\n\u003cp>Tellefsen had to get over the notion of “protecting Davis’ privacy,” as once was the code. Now it was about showing Davis in bold brightness, as suggested by the cover—a profile image created by Felix Bertrán of Davis peering to her right, her stop-sign red face and black afro standing out against a blue background.\u003c/p>\n\u003cp>“When I see that front cover,” says Tellefsen, “I see the linkage between Cuba, communism, graphic design, Angela Davis—you know—the era, and where graphics were at that time.”\u003c/p>\n\u003cp>Meanwhile, I was caught by the image on the back of the book: a contorted map showing the connections between some well-known freedom fighters, elected officials, and liberation groups. It’s a piece called “Black Liberation and Socialism in America” (2017), created by \u003ca href=\"https://hyperallergic.com/370076/in-la-50-artists-respond-to-the-black-panthers-legacy/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith Walsh\u003c/a>.\u003c/p>\n\u003cp>Tellefsen says that although it’s a little light on mentioning women involved in liberation efforts, she’s a fan of the piece for its attempt to show all the connections, like a mind map or a puzzle.\u003c/p>\n\u003cfigure id=\"attachment_13891163\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg\" alt=\"“Black Liberation and Socialism in America” by Keith Walsh \" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1020x1272.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-768x958.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1232x1536.jpg 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Black Liberation and Socialism in America’ by Keith Walsh. \u003ccite>(Keith Walsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ever classically trained as an archivist, Tellefsen “flirted with internships,” studied under the tutelage of a mentor from the UC Berkeley School of Theology, and is part of the Society of American Archivists. But she says she’s developed her own methods of maintaining and organizing her materials.\u003c/p>\n\u003cp>She has notepads showing the evolution of her file-naming conventions. She’s used the Dewey Decimal system and digital memory cards. And she explains that her evolving methods of organization are coupled with tangible “external artifacts,” and the practice of piecing them together to tell life stories.\u003c/p>\n\u003cp>When it came to Angela Davis’ story, Tellefsen says, “Once I began that process of reconstruction, it was like the little kid in me doing a 50,000-piece jigsaw puzzle.”\u003c/p>\n\u003cfigure id=\"attachment_13891133\" class=\"wp-caption alignnone\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg\" alt=\"Free Angela, Free Women by Faith Ringgold (1971)\" width=\"546\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen-160x234.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">‘Free Angela, Free Women’ by Faith Ringgold (1971). \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If everything goes according to plan, Tellefsen tells me, the finished “puzzle” will not only be this “exhibition catalog” of a book, but an actual exhibition shown at \u003ca href=\"http://www.zimmerlimuseum.rutgers.edu/voorhees-galleries/angela-davis-%E2%80%94-seize-time#.YAC-yJNKjAM\" target=\"_blank\" rel=\"noopener noreferrer\">Rutgers University’s Zimmerli Art Museum\u003c/a> in the fall. After that, fingers crossed, it will come to the Oakland Musuem of California.\u003c/p>\n\u003cp>“To me,” says Tellefsen, “that’s the big moment: when this comes home to Oakland. That will be the crowning achievement for me.”\u003c/p>\n\u003cp>\u003cem>Seize the Time\u003c/em> is being published just as Davis experiences a resurgence, brought on by conversations about abolishing the current criminal justice system. In June of last year, Davis \u003ca href=\"https://www.kqed.org/news/11825274/updates-bay-area-honors-juneteenth-on-the-streets\" target=\"_blank\" rel=\"noopener noreferrer\">joined a rally\u003c/a> to shut down the Port of Oakland in the wake of the killings of George Floyd and Breonna Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13891134\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg\" alt='\"Sister: You Are Welcome Here\" reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, Leviathan.' width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1411x2048.jpg 1411w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1920x2786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-scaled.jpg 1764w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sister: You Are Welcome Here” reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, ‘Leviathan.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And as a speaker, Davis, who celebrates her 77th birthday on Jan. 26, is still very active. She’s scheduled to be in discussion with \u003ca href=\"https://www.eventbrite.com/e/a-call-to-action-then-and-now-dr-martin-luther-king-jr-celebration-tickets-133768744917\">Alicia Garza\u003c/a> on Monday, Jan. 18, as a part of the Madam Walker Legacy Center and University of Indiana’s virtual MLK Day event.\u003c/p>\n\u003cp>“It’s like something has aligned, where her words are being heard in the mainstream. Not the ‘radical fringe,’ or whatever they call her outside of the activist and academic bubble,” says Tellefsen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“When she got out of jail, and said, ‘You freed me, now it’s time to free all political prisoners and advocate for social justice, anticapitalist, antiracist practices,’ she never wavered once.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13891129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg\" alt=\"Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 as they pose for a photo while holding a copy of the book, 'Seize the Time.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 while holding a copy of the book ‘Seize the Time.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>rchivist Lisbet Tellefsen collects Black cultural artifacts like kids used to collect baseball cards back in the day.\u003c/p>\n\u003cp>Lucky for us, she shares her collection with the world. Dozens of pieces from her personal archive are housed at museums across the country, including the Oakland Musuem of California and the Smithsonian National Museum of African American History and Culture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The archives of the now-defunct publication that she co-founded in the late ’80s,\u003ca href=\"https://archives.yale.edu/subjects/27815\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Aché\u003c/em>\u003c/a>, which focused on stories of Black lesbians and featured the work of Audre Lorde, Pat Parker, and Barbara Smith, are housed at Yale. Tellefsen provided archival research for Stanley Nelson’s documentary \u003cem>Black Panthers: Vanguard of the Revolution \u003c/em>and Shola Lynch’s \u003cem>Free Angela and All Political Prisoners\u003c/em>.\u003c/p>\n\u003cp>Five years ago, when I wrote about the history of the\u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Panther school, \u003c/a>Tellefsen sent me photos of Rosa Parks and Maya Angelou inside the school’s former site in East Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now Tellefsen has included over 100 pieces from her archive of the famed scholar and prison abolitionist Angela Davis in the 192-page book \u003ci>\u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo68160170.html\" target=\"_blank\" rel=\"noopener noreferrer\">Seize The Time\u003c/a>\u003c/i> (published September 2020 by the University of Chicago Press; $45). With a mix of archival photos, contemporary art, essays and interviews, \u003cem>Seize the Time\u003c/em> paints a picture of Davis’ life—at a time when her work couldn’t be more important.\u003c/p>\n\u003cfigure id=\"attachment_13891128\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg\" alt=\"A collage of Angela Davis posters from the Lisbet Tellefsen collection\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-2048x1406.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1920x1318.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collage of Angela Davis posters from the Lisbet Tellefsen collection. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> centerpiece of the \u003cem>Seize the Time\u003c/em> is a timeline of Davis’ life, starting with her childhood in the racially segregated “\u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/06/197342590/remembering-birminghams-dynamite-hill-neighborhood\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamite Hill\u003c/a>” neighborhood of Birmingham, Alabama, a place that earned its nickname from white people using explosives to attack Black residents. Along the way, Tellefsen fits many of the details of Davis’ life into the timeline’s 12-page spread—her professorship at UCLA, her involvement with the Black Panthers, her 16-month incarceration and acquittal, her work in Eastern Bloc countries and other political activism—ending with Davis’ induction into the National Women’s Hall of Fame in Sceneca Falls, New York, in 2019.\u003c/p>\n\u003cp>The book is both a piece of history and a piece of art. Posters of Davis’ face are accompanied by messages written in German, French and Spanish, as well as mugshots and courtroom renderings. And in a bridge to the new generation, images from artist Sadie Barnette’s project \u003cem>Dear 1968\u003c/em>—her “\u003ca href=\"https://www.sadiebarnette.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">My Father’s FBI Files\u003c/a>\u003cem>“\u003c/em> piece—are included.\u003c/p>\n\u003cp>Some of the same archival items are currently showing in the exhibit that Tellefsen co-curated, \u003ca style=\"color: #41a62a\" href=\"https://www.glbthistory.org/angela-davis\" target=\"_blank\" rel=\"noopener noreferrer\">called \u003cem>OUTspoken,\u003c/em>\u003c/a> hosted virtually by the GLBT Historical Society.\u003c/p>\n\u003cfigure id=\"attachment_13891131\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg\" alt=\"Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1536x1132.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4.jpg 1686w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artistic aspect of the book fits. “I think that I feel the most free when I’m in the presence of great art with others,” says Davis, in a transcribed conversation with the Oakland Museum of California’s senior curator René de Guzman. “I think art teaches us how to feel free, how to feel free even as we are compelled to live under conditions of un-freedom.”\u003c/p>\n\u003cp>One of the book’s essays comes from historian and professor Gerry Beegan (who co-edited the book with Donna Gustafson), focusing on the role graphic arts and mixed media played in the spread of Davis’ story. There’s also a piece from writer and professor Nicole R. Fleetwood about the significance of Davis’ “fearless activism” in spite of the oppressive forces Black women face in America.\u003c/p>\n\u003cfigure id=\"attachment_13891132\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg\" alt=\"A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970\" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1594x2048.jpg 1594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1920x2466.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-scaled.jpg 1993w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was writing for an audience of one,” says Tellefsen, who despite knowing Davis for years says she was still very mindful to properly represent her. At one point, she tells me, she asked Davis if she preferred to be labeled as queer or lesbian. “She’s like, ‘I don’t mind it,'” Tellefsen recalls her saying, “I’d prefer anti-racist, anti-capitalist.”\u003c/p>\n\u003cp>Tellefsen had to get over the notion of “protecting Davis’ privacy,” as once was the code. Now it was about showing Davis in bold brightness, as suggested by the cover—a profile image created by Felix Bertrán of Davis peering to her right, her stop-sign red face and black afro standing out against a blue background.\u003c/p>\n\u003cp>“When I see that front cover,” says Tellefsen, “I see the linkage between Cuba, communism, graphic design, Angela Davis—you know—the era, and where graphics were at that time.”\u003c/p>\n\u003cp>Meanwhile, I was caught by the image on the back of the book: a contorted map showing the connections between some well-known freedom fighters, elected officials, and liberation groups. It’s a piece called “Black Liberation and Socialism in America” (2017), created by \u003ca href=\"https://hyperallergic.com/370076/in-la-50-artists-respond-to-the-black-panthers-legacy/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith Walsh\u003c/a>.\u003c/p>\n\u003cp>Tellefsen says that although it’s a little light on mentioning women involved in liberation efforts, she’s a fan of the piece for its attempt to show all the connections, like a mind map or a puzzle.\u003c/p>\n\u003cfigure id=\"attachment_13891163\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg\" alt=\"“Black Liberation and Socialism in America” by Keith Walsh \" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1020x1272.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-768x958.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1232x1536.jpg 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Black Liberation and Socialism in America’ by Keith Walsh. \u003ccite>(Keith Walsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ever classically trained as an archivist, Tellefsen “flirted with internships,” studied under the tutelage of a mentor from the UC Berkeley School of Theology, and is part of the Society of American Archivists. But she says she’s developed her own methods of maintaining and organizing her materials.\u003c/p>\n\u003cp>She has notepads showing the evolution of her file-naming conventions. She’s used the Dewey Decimal system and digital memory cards. And she explains that her evolving methods of organization are coupled with tangible “external artifacts,” and the practice of piecing them together to tell life stories.\u003c/p>\n\u003cp>When it came to Angela Davis’ story, Tellefsen says, “Once I began that process of reconstruction, it was like the little kid in me doing a 50,000-piece jigsaw puzzle.”\u003c/p>\n\u003cfigure id=\"attachment_13891133\" class=\"wp-caption alignnone\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg\" alt=\"Free Angela, Free Women by Faith Ringgold (1971)\" width=\"546\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen-160x234.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">‘Free Angela, Free Women’ by Faith Ringgold (1971). \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If everything goes according to plan, Tellefsen tells me, the finished “puzzle” will not only be this “exhibition catalog” of a book, but an actual exhibition shown at \u003ca href=\"http://www.zimmerlimuseum.rutgers.edu/voorhees-galleries/angela-davis-%E2%80%94-seize-time#.YAC-yJNKjAM\" target=\"_blank\" rel=\"noopener noreferrer\">Rutgers University’s Zimmerli Art Museum\u003c/a> in the fall. After that, fingers crossed, it will come to the Oakland Musuem of California.\u003c/p>\n\u003cp>“To me,” says Tellefsen, “that’s the big moment: when this comes home to Oakland. That will be the crowning achievement for me.”\u003c/p>\n\u003cp>\u003cem>Seize the Time\u003c/em> is being published just as Davis experiences a resurgence, brought on by conversations about abolishing the current criminal justice system. In June of last year, Davis \u003ca href=\"https://www.kqed.org/news/11825274/updates-bay-area-honors-juneteenth-on-the-streets\" target=\"_blank\" rel=\"noopener noreferrer\">joined a rally\u003c/a> to shut down the Port of Oakland in the wake of the killings of George Floyd and Breonna Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13891134\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg\" alt='\"Sister: You Are Welcome Here\" reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, Leviathan.' width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1411x2048.jpg 1411w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1920x2786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-scaled.jpg 1764w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sister: You Are Welcome Here” reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, ‘Leviathan.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And as a speaker, Davis, who celebrates her 77th birthday on Jan. 26, is still very active. She’s scheduled to be in discussion with \u003ca href=\"https://www.eventbrite.com/e/a-call-to-action-then-and-now-dr-martin-luther-king-jr-celebration-tickets-133768744917\">Alicia Garza\u003c/a> on Monday, Jan. 18, as a part of the Madam Walker Legacy Center and University of Indiana’s virtual MLK Day event.\u003c/p>\n\u003cp>“It’s like something has aligned, where her words are being heard in the mainstream. Not the ‘radical fringe,’ or whatever they call her outside of the activist and academic bubble,” says Tellefsen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When she got out of jail, and said, ‘You freed me, now it’s time to free all political prisoners and advocate for social justice, anticapitalist, antiracist practices,’ she never wavered once.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lady Gaga, Jennifer Lopez To Headline Biden Inauguration",
"headTitle": "Lady Gaga, Jennifer Lopez To Headline Biden Inauguration | KQED",
"content": "\u003cp>President-elect Joe Biden may not have big crowds at his coronavirus-limited inauguration, but he won’t be lacking for star power.\u003c/p>\n\u003cp>The Presidential Inaugural Committee announced Thursday that pop star Lady Gaga will sing the National Anthem and Jennifer Lopez will perform a musical number at the Capitol ceremony next week.\u003c/p>\n\u003cp>Other participants will include Leo J. O’Donovan, a Jesuit priest and former Georgetown University president who will lead the invocation, and Andrea Hall, the first Black woman to be named captain with the South Fulton Fire and Rescue Department in Georgia, who will lead the Pledge of Allegiance.\u003c/p>\n\u003cp>There will also be a poetry reading by Amanda Gorman, the first-ever national Youth Poet Laureate. The Rev. Silvester Beaman, pastor of Bethel African Methodist Episcopal Church in Wilmington, Del., will conduct the benediction.\u003c/p>\n\u003cp>The announcement of their participation comes one day after word that Tom Hanks will host a \u003ca href=\"https://apnews.com/article/joe-biden-inauguration-tv-special-425933c038629dba55d56ac569e83d38\" rel=\"noopener noreferrer\" target=\"_blank\">90-minute primetime TV special\u003c/a> celebrating Biden’s inauguration. Other performers for the special include Justin Timberlake, Jon Bon Jovi, Demi Lovato and Ant Clemons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President-elect Joe Biden may not have big crowds at his coronavirus-limited inauguration, but he won’t be lacking for star power.\u003c/p>\n\u003cp>The Presidential Inaugural Committee announced Thursday that pop star Lady Gaga will sing the National Anthem and Jennifer Lopez will perform a musical number at the Capitol ceremony next week.\u003c/p>\n\u003cp>Other participants will include Leo J. O’Donovan, a Jesuit priest and former Georgetown University president who will lead the invocation, and Andrea Hall, the first Black woman to be named captain with the South Fulton Fire and Rescue Department in Georgia, who will lead the Pledge of Allegiance.\u003c/p>\n\u003cp>There will also be a poetry reading by Amanda Gorman, the first-ever national Youth Poet Laureate. The Rev. Silvester Beaman, pastor of Bethel African Methodist Episcopal Church in Wilmington, Del., will conduct the benediction.\u003c/p>\n\u003cp>The announcement of their participation comes one day after word that Tom Hanks will host a \u003ca href=\"https://apnews.com/article/joe-biden-inauguration-tv-special-425933c038629dba55d56ac569e83d38\" rel=\"noopener noreferrer\" target=\"_blank\">90-minute primetime TV special\u003c/a> celebrating Biden’s inauguration. Other performers for the special include Justin Timberlake, Jon Bon Jovi, Demi Lovato and Ant Clemons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Diego Rivera Mural at SFAI to Receive Landmark Designation, Preventing Possible Sale",
"headTitle": "Diego Rivera Mural at SFAI to Receive Landmark Designation, Preventing Possible Sale | KQED",
"content": "\u003cp>The San Francisco Board of Supervisors voted unanimously Tuesday afternoon to \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9053990&GUID=BD2C3C2B-2D09-436C-97DF-DB52B348A9BB\" rel=\"noopener noreferrer\" target=\"_blank\">initiate landmark designation\u003c/a> for the 1931 Diego Rivera mural \u003ci>\u003ca href=\"https://www.sfai.edu/about-sfai/diego-rivera-mural\" rel=\"noopener noreferrer\" target=\"_blank\">The Making of a Fresco Showing the Building of a City\u003c/a>\u003c/i> located inside the San Francisco Art Institute’s Chestnut Street campus.\u003c/p>\n\u003cp>Sponsored by District 3 Supervisor Aaron Peskin, the resolution addressed \u003ca href=\"https://hyperallergic.com/614232/plan-to-sell-diego-rivera-mural-at-san-francisco-art-institute-draws-backlash/\" rel=\"noopener noreferrer\" target=\"_blank\">recent concern\u003c/a> that the SFAI board of trustees was considering removing and selling the mural, appraised at $50 million, to cover the institution’s looming $19.7 million debt. That debt is to be repaid to the \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\" rel=\"noopener noreferrer\" target=\"_blank\">University of California\u003c/a> within six years. Recent coverage by the \u003ci>\u003ca href=\"https://www.nytimes.com/2021/01/05/arts/design/san-francisco-art-institute-diego-rivera-mural.html\" rel=\"noopener noreferrer\" target=\"_blank\">New York Times\u003c/a>\u003c/i> identified the potential buyer as George Lucas’ Museum of Narrative Art in Los Angeles.\u003c/p>\n\u003cp>[aside postID='arts_13878509']While the SFAI board of trustees has emphasized its “desire to keep the mural where Rivera originally painted it,” as board chair Pam Rorke Levy wrote in a \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/SFAI-Board-Statement-1-11-21-FINAL-1.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">Jan. 11 letter\u003c/a> to the supervisors, they opposed today’s initiation of landmark designation. \u003c/p>\n\u003cp>Instead, Levy asked that the supervisors to delay their decision “for at least a month,” explaining that “landmarking the mural now will prevent us from using it—SFAI’s only significant asset—to secure the $7 million bridge loan we need to make it through the pandemic and rebuild our enrollment over the next two years.”\u003c/p>\n\u003cp>Article 10 of the San Francisco Planning Code outlines the purposes of landmark designation “to promote the health, safety and general welfare of the public,” by protecting sites “that are reminders of past eras, events and persons important in local, state or national history.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is one of just three Rivera murals in San Francisco, and it depicts, along with the artist’s broad backside, anonymous steel riveters, industrial laborers, then-SFAI president William Gerstle and Coit Tower architect Arthur Brown, Jr.\u003c/p>\n\u003cp>As for how long it might take to achieve landmark designation for the Rivera mural, Peskin says, “The normal answer is it takes 60–120 days depending on how fast things happen. But in this particular case it doesn’t really matter.” That’s because he believes the mural is already protected by a previous landmark designation for SFAI’s entire Chestnut Street campus. (That proposal was approved in 1977 by then-Supervisor Diane Feinstein and signed into effect by Mayor George Moscone.) \u003c/p>\n\u003cp>In the paperwork attached to that approval, the \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9044582&GUID=BD7A409A-FBE1-42BE-BBE1-54DFA83AA393\" rel=\"noopener noreferrer\" target=\"_blank\">final case report\u003c/a> makes significant mention of the Rivera mural, including a detail about the artist asking for more square footage of wall space, but not a higher commission. \u003c/p>\n\u003cfigure id=\"attachment_13891111\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13891111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s Chestnut Street campus was given city landmark designation in 1977. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the 1977 designation doesn’t fully protect the mural in situ, Peskin thinks \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is worthy of individual recognition. In a Monday night meeting of the Land Use and Transportation Committee that advanced today’s resolution to the full Board of Supervisors, he called SFAI board efforts to delay the designation “heresy.” \u003c/p>\n\u003cp>There is near-unilateral support for today’s resolution within the SFAI community and the art community at large. The Committee to Re-Imagine SFAI (made up of alumni, staff, faculty and community members), which has been working for six months to chart a financially sustainable future for the art school, wrote a letter to the board of trustees in mid-December, stating that the sale of the mural “will cause irreparable harm to the ethical, moral, cultural, social, political, civic, domestic, and international standing of our institution.”\u003c/p>\n\u003cp>[aside postID='arts_13877340']The school’s adjunct faculty (most of them not currently teaching after SFAI initiated layoffs at the end of the spring 2020 semester) called the potential sale “desperate” in \u003ca href=\"https://mailchi.mp/07116bbd7260/future-of-diego-mural-at-sfai?e=f1e05722e5\" rel=\"noopener noreferrer\" target=\"_blank\">an email\u003c/a> sent to the community on Dec. 30. “In reducing the value of such an artwork to pure commodity, the board undermines its school’s own pedagogy,” the email continued, citing the glaring optics of a predominantly white-led institution selling off a work by an artist of color to stay afloat. \u003c/p>\n\u003cp>And on Jan. 7, Los Angeles artist and SFAI alum Catherine Opie wrote an \u003ca href=\"https://www.facebook.com/story.php?story_fbid=10159263426738420&id=533813419&ref=content_filter\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> to the SFAI board, announcing she would withdraw her photograph from an upcoming auction to benefit SFAI. “I can no longer be a part of a legacy that will sell off an essential unique piece of history,” she wrote.\u003c/p>\n\u003cp>In Levy’s Jan. 11 letter to the Board of Supervisors, she proposed the city work with SFAI to help the school “secure a loan or a loan guarantee or an outright grant from the city in the amount of $7 million … Longer term, we would like to explore with you a transaction in which the city could help us pay off our debt to UC and in exchange, receive a financial interest in the mural.”\u003c/p>\n\u003cp>Peskin says the city and county of San Francisco understand the importance of SFAI as a 150-year-old institution, and that he wants the school to survive and someday thrive. But, he emphasizes, “The city of San Francisco has its own problems during COVID and we are not the Art Institute’s bank.”\u003c/p>\n\u003cp>In the next chapter in this ever-unfolding saga, the Committee to Re-Imagine SFAI is scheduled to make its final report to the community in a \u003ca href=\"https://us02web.zoom.us/meeting/register/tZ0qcuiqqT8vHdxH3HLnyJpt-CnJCKYhZmB2\" target=\"_blank\" rel=\"noopener noreferrer\">virtual town hall\u003c/a> 4–6pm on Thursday, Jan. 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to accurately reflect that Diego Rivera asked for a larger wall for his fresco at SFAI, but not more money as originally stated.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Supervisors voted unanimously Tuesday afternoon to \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9053990&GUID=BD2C3C2B-2D09-436C-97DF-DB52B348A9BB\" rel=\"noopener noreferrer\" target=\"_blank\">initiate landmark designation\u003c/a> for the 1931 Diego Rivera mural \u003ci>\u003ca href=\"https://www.sfai.edu/about-sfai/diego-rivera-mural\" rel=\"noopener noreferrer\" target=\"_blank\">The Making of a Fresco Showing the Building of a City\u003c/a>\u003c/i> located inside the San Francisco Art Institute’s Chestnut Street campus.\u003c/p>\n\u003cp>Sponsored by District 3 Supervisor Aaron Peskin, the resolution addressed \u003ca href=\"https://hyperallergic.com/614232/plan-to-sell-diego-rivera-mural-at-san-francisco-art-institute-draws-backlash/\" rel=\"noopener noreferrer\" target=\"_blank\">recent concern\u003c/a> that the SFAI board of trustees was considering removing and selling the mural, appraised at $50 million, to cover the institution’s looming $19.7 million debt. That debt is to be repaid to the \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\" rel=\"noopener noreferrer\" target=\"_blank\">University of California\u003c/a> within six years. Recent coverage by the \u003ci>\u003ca href=\"https://www.nytimes.com/2021/01/05/arts/design/san-francisco-art-institute-diego-rivera-mural.html\" rel=\"noopener noreferrer\" target=\"_blank\">New York Times\u003c/a>\u003c/i> identified the potential buyer as George Lucas’ Museum of Narrative Art in Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the SFAI board of trustees has emphasized its “desire to keep the mural where Rivera originally painted it,” as board chair Pam Rorke Levy wrote in a \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/SFAI-Board-Statement-1-11-21-FINAL-1.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">Jan. 11 letter\u003c/a> to the supervisors, they opposed today’s initiation of landmark designation. \u003c/p>\n\u003cp>Instead, Levy asked that the supervisors to delay their decision “for at least a month,” explaining that “landmarking the mural now will prevent us from using it—SFAI’s only significant asset—to secure the $7 million bridge loan we need to make it through the pandemic and rebuild our enrollment over the next two years.”\u003c/p>\n\u003cp>Article 10 of the San Francisco Planning Code outlines the purposes of landmark designation “to promote the health, safety and general welfare of the public,” by protecting sites “that are reminders of past eras, events and persons important in local, state or national history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is one of just three Rivera murals in San Francisco, and it depicts, along with the artist’s broad backside, anonymous steel riveters, industrial laborers, then-SFAI president William Gerstle and Coit Tower architect Arthur Brown, Jr.\u003c/p>\n\u003cp>As for how long it might take to achieve landmark designation for the Rivera mural, Peskin says, “The normal answer is it takes 60–120 days depending on how fast things happen. But in this particular case it doesn’t really matter.” That’s because he believes the mural is already protected by a previous landmark designation for SFAI’s entire Chestnut Street campus. (That proposal was approved in 1977 by then-Supervisor Diane Feinstein and signed into effect by Mayor George Moscone.) \u003c/p>\n\u003cp>In the paperwork attached to that approval, the \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9044582&GUID=BD7A409A-FBE1-42BE-BBE1-54DFA83AA393\" rel=\"noopener noreferrer\" target=\"_blank\">final case report\u003c/a> makes significant mention of the Rivera mural, including a detail about the artist asking for more square footage of wall space, but not a higher commission. \u003c/p>\n\u003cfigure id=\"attachment_13891111\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13891111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s Chestnut Street campus was given city landmark designation in 1977. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the 1977 designation doesn’t fully protect the mural in situ, Peskin thinks \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is worthy of individual recognition. In a Monday night meeting of the Land Use and Transportation Committee that advanced today’s resolution to the full Board of Supervisors, he called SFAI board efforts to delay the designation “heresy.” \u003c/p>\n\u003cp>There is near-unilateral support for today’s resolution within the SFAI community and the art community at large. The Committee to Re-Imagine SFAI (made up of alumni, staff, faculty and community members), which has been working for six months to chart a financially sustainable future for the art school, wrote a letter to the board of trustees in mid-December, stating that the sale of the mural “will cause irreparable harm to the ethical, moral, cultural, social, political, civic, domestic, and international standing of our institution.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The school’s adjunct faculty (most of them not currently teaching after SFAI initiated layoffs at the end of the spring 2020 semester) called the potential sale “desperate” in \u003ca href=\"https://mailchi.mp/07116bbd7260/future-of-diego-mural-at-sfai?e=f1e05722e5\" rel=\"noopener noreferrer\" target=\"_blank\">an email\u003c/a> sent to the community on Dec. 30. “In reducing the value of such an artwork to pure commodity, the board undermines its school’s own pedagogy,” the email continued, citing the glaring optics of a predominantly white-led institution selling off a work by an artist of color to stay afloat. \u003c/p>\n\u003cp>And on Jan. 7, Los Angeles artist and SFAI alum Catherine Opie wrote an \u003ca href=\"https://www.facebook.com/story.php?story_fbid=10159263426738420&id=533813419&ref=content_filter\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> to the SFAI board, announcing she would withdraw her photograph from an upcoming auction to benefit SFAI. “I can no longer be a part of a legacy that will sell off an essential unique piece of history,” she wrote.\u003c/p>\n\u003cp>In Levy’s Jan. 11 letter to the Board of Supervisors, she proposed the city work with SFAI to help the school “secure a loan or a loan guarantee or an outright grant from the city in the amount of $7 million … Longer term, we would like to explore with you a transaction in which the city could help us pay off our debt to UC and in exchange, receive a financial interest in the mural.”\u003c/p>\n\u003cp>Peskin says the city and county of San Francisco understand the importance of SFAI as a 150-year-old institution, and that he wants the school to survive and someday thrive. But, he emphasizes, “The city of San Francisco has its own problems during COVID and we are not the Art Institute’s bank.”\u003c/p>\n\u003cp>In the next chapter in this ever-unfolding saga, the Committee to Re-Imagine SFAI is scheduled to make its final report to the community in a \u003ca href=\"https://us02web.zoom.us/meeting/register/tZ0qcuiqqT8vHdxH3HLnyJpt-CnJCKYhZmB2\" target=\"_blank\" rel=\"noopener noreferrer\">virtual town hall\u003c/a> 4–6pm on Thursday, Jan. 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to accurately reflect that Diego Rivera asked for a larger wall for his fresco at SFAI, but not more money as originally stated.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Mayor’s New Small Business Grant, Loan Proposal Offers Hope for the Arts",
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"content": "\u003cp>The COVID-19 crisis is nearing its second year in the Bay Area, and it’s no secret that small businesses are struggling—especially during the current wave of tougher restrictions and climbing infection rates.\u003c/p>\n\u003cp>Today, San Francisco Mayor London Breed proposed two new small business grant and loan programs that aim to offer some relief in this challenging climate. The $62 million plan could be a boon for arts organizations waiting for funding from the state and federal governments, such as, for instance, the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> grant program for independent music venues. Congress passed it in December along with its latest pandemic stimulus package, but funds \u003ca href=\"https://www.billboard.com/articles/business/9509810/save-our-stages-act-passage-niva-director-next-steps/?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">may not be disbursed for months\u003c/a>, and many concert venue owners have said that they are weeks or months away from closing permanently if help doesn’t arrive soon. [aside postid='arts_13890093']\u003c/p>\n\u003cp>Breed’s new plan offers $12.4 million in grants for small businesses, which will be given out in amounts of $5,000-$20,000 depending on the number of employees the business had in February 2020. The grants prioritize businesses owned by people of color and women, long-standing businesses, those most impacted by stay-at-home orders and those unable to access state and federal programs.\u003c/p>\n\u003cp>At today’s Board of Supervisors meeting, Breed said that music and nightlife venues would be among the businesses prioritized. Most of them haven’t been able to operate in any capacity—other than the few selling merchandise or to-go drinks—since March. Yet the San Francisco Venue Coalition estimates that most music venues’ monthly overhead costs are between $18,000–$35,000; many of them have racked up substantial debt, and some, like The Stud, have opted to close for good.\u003c/p>\n\u003cp>Breed emphasized the importance of preserving the city’s nightlife and entertainment venues so there are places to celebrate when the pandemic is over.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The remaining $50 million of the proposed program will go to low-to-no interest small business loans, distributed in amounts of up to $250,000. The goal of the loan program is to stabilize the workforce, the mayor’s announcement says, and to retain and create jobs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breed’s office is working with other departments of San Francisco government to cut their expenditures in order to fund this proposal. To go into effect, it’ll require the Board of Supervisors to approve a new ordinance that will be introduced later this month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The COVID-19 crisis is nearing its second year in the Bay Area, and it’s no secret that small businesses are struggling—especially during the current wave of tougher restrictions and climbing infection rates.\u003c/p>\n\u003cp>Today, San Francisco Mayor London Breed proposed two new small business grant and loan programs that aim to offer some relief in this challenging climate. The $62 million plan could be a boon for arts organizations waiting for funding from the state and federal governments, such as, for instance, the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> grant program for independent music venues. Congress passed it in December along with its latest pandemic stimulus package, but funds \u003ca href=\"https://www.billboard.com/articles/business/9509810/save-our-stages-act-passage-niva-director-next-steps/?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">may not be disbursed for months\u003c/a>, and many concert venue owners have said that they are weeks or months away from closing permanently if help doesn’t arrive soon. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Breed’s new plan offers $12.4 million in grants for small businesses, which will be given out in amounts of $5,000-$20,000 depending on the number of employees the business had in February 2020. The grants prioritize businesses owned by people of color and women, long-standing businesses, those most impacted by stay-at-home orders and those unable to access state and federal programs.\u003c/p>\n\u003cp>At today’s Board of Supervisors meeting, Breed said that music and nightlife venues would be among the businesses prioritized. Most of them haven’t been able to operate in any capacity—other than the few selling merchandise or to-go drinks—since March. Yet the San Francisco Venue Coalition estimates that most music venues’ monthly overhead costs are between $18,000–$35,000; many of them have racked up substantial debt, and some, like The Stud, have opted to close for good.\u003c/p>\n\u003cp>Breed emphasized the importance of preserving the city’s nightlife and entertainment venues so there are places to celebrate when the pandemic is over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The remaining $50 million of the proposed program will go to low-to-no interest small business loans, distributed in amounts of up to $250,000. The goal of the loan program is to stabilize the workforce, the mayor’s announcement says, and to retain and create jobs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breed’s office is working with other departments of San Francisco government to cut their expenditures in order to fund this proposal. To go into effect, it’ll require the Board of Supervisors to approve a new ordinance that will be introduced later this month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "SF Approves In-Person Sundance Festival Screenings at Fort Mason Center | KQED",
"content": "\u003cp>San Francisco city officials will allow drive-in screenings for the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> to go ahead at the end of the month, giving Bay Area movie buffs the opportunity to see the films in-person during the pandemic.\u003c/p>\n\u003cp>A statement sent to KQED from the city’s COVID information team said the decision to permit the festival’s drive-in movie screenings at the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Center for Arts and Culture\u003c/a> is in accordance with statewide guidelines.\u003c/p>\n\u003cp>“Under California’s regional stay-at-home order, drive-in theaters are permitted to operate,” the statement said. “In line with the city’s allowance of industry operation to the level at which the state permits, San Francisco has worked with the Fort Mason Center for Arts and Culture to carefully examine operating conditions that reduce the risk of drive-in theaters as much as possible. The Fort Mason Center has been a close partner in ensuring that their operations are aligned with the current state of public health conditions in San Francisco and we will continue to work together on these issues.”\u003c/p>\n\u003cp>A follow-up email from the city said drive-ins are currently the only non-essential businesses not currently open in San Francisco that are allowed to be open under state guidelines. “The state does not currently allow San Francisco to consider opening any other closed uses,” the email said.\u003c/p>\n\u003cp>Despite the widespread stay-at-home orders across the Bay Area that forced many non-essential businesses to close down again late last year, drive-ins are currently operating in other parts of the Bay Area, such as the \u003ca href=\"https://www.westwinddi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In\u003c/a> in San Jose and the \u003ca href=\"https://www.alamedatheatres.com/drivein/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda Theatre & Cineplex\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Fort Mason Center and its presenting partner the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will be required to limit cars to a single household and won’t be permitted to sell concessions. Filmgoers must remain in their vehicles unless using the restrooms.\u003c/p>\n\u003cp>“While the Roxie’s doors have been closed for nearly 10 months, we’ve been active this entire time, trying our best to still present great movies and stay connected to a community that’s so dear to us,” said Lex Sloan, the Roxie’s executive director.\u003c/p>\n\u003cp>“These Sundance Festival drive-in screenings at Fort Mason are a chance for us to get a little closer to bringing the theatrical experience we’ve missed so much back to San Francisco,” said Roxie operations manager Kelly Wiggin.\u003c/p>\n\u003cp>Along with its online programming, Sundance selected the Roxie as one of roughly 30 partner film presenters around the country. The historic indie theater is the only Northern California presenter; the state’s other two are in the Los Angeles area.\u003c/p>\n\u003cp>It’s the first time in the festival’s history moviegoers will get to experience Sundance’s entire program without having to trek out to Utah.\u003c/p>\n\u003cp>Moviegoers can see films from an array of Bay Area filmmakers at this year’s festival. Locally-produced highlights include Natalia Almada’s documentary \u003ca href=\"https://www.documentary.org/project/users\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Users\u003c/em>\u003c/a> about the dehumanizing consequences of technological advances, and a pair of documentaries focused on Bay Area public schools: Debbie Lum’s \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder\u003c/em>\u003c/a>, featuring students from San Francisco’s Lowell High School; and Peter Nicks’ \u003ca href=\"http://openhood.org/homeroom/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Homeroom\u003c/em>\u003c/a>, set in Oakland High School. (\u003cem>Homeroom\u003c/em> is only available online; it will not be screened at Fort Mason.)\u003c/p>\n\u003cp>“To have our local story about a San Francisco institution, Lowell High School, be at Sundance is so exciting to begin with,” said \u003cem>Try Harder\u003c/em> director Lum. “This year, we can have a premiere simultaneously in the exclusive venue of Park City and in San Francisco, so that the community at the center of the story can actually attend Sundance.”\u003c/p>\n\u003cp>“For us it was a difficult decision to apply to Sundance knowing COVID would be a factor because the film is really intended for a theater,” said \u003cem>Users\u003c/em> director Almada. “But when we thought about it more deeply, it felt really important to keep making our work as a reflection and a response to the time in which we are living. Waiting for this to all pass didn’t feel right. The silver lining of not being able to go to Sundance is the possibility of having Sundance come to us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2021 Sundance Film Festival runs Jan. 28 through Feb. 3. Full San Francisco Sundance lineup and tickets \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco city officials will allow drive-in screenings for the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> to go ahead at the end of the month, giving Bay Area movie buffs the opportunity to see the films in-person during the pandemic.\u003c/p>\n\u003cp>A statement sent to KQED from the city’s COVID information team said the decision to permit the festival’s drive-in movie screenings at the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Center for Arts and Culture\u003c/a> is in accordance with statewide guidelines.\u003c/p>\n\u003cp>“Under California’s regional stay-at-home order, drive-in theaters are permitted to operate,” the statement said. “In line with the city’s allowance of industry operation to the level at which the state permits, San Francisco has worked with the Fort Mason Center for Arts and Culture to carefully examine operating conditions that reduce the risk of drive-in theaters as much as possible. The Fort Mason Center has been a close partner in ensuring that their operations are aligned with the current state of public health conditions in San Francisco and we will continue to work together on these issues.”\u003c/p>\n\u003cp>A follow-up email from the city said drive-ins are currently the only non-essential businesses not currently open in San Francisco that are allowed to be open under state guidelines. “The state does not currently allow San Francisco to consider opening any other closed uses,” the email said.\u003c/p>\n\u003cp>Despite the widespread stay-at-home orders across the Bay Area that forced many non-essential businesses to close down again late last year, drive-ins are currently operating in other parts of the Bay Area, such as the \u003ca href=\"https://www.westwinddi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In\u003c/a> in San Jose and the \u003ca href=\"https://www.alamedatheatres.com/drivein/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda Theatre & Cineplex\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Fort Mason Center and its presenting partner the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will be required to limit cars to a single household and won’t be permitted to sell concessions. Filmgoers must remain in their vehicles unless using the restrooms.\u003c/p>\n\u003cp>“While the Roxie’s doors have been closed for nearly 10 months, we’ve been active this entire time, trying our best to still present great movies and stay connected to a community that’s so dear to us,” said Lex Sloan, the Roxie’s executive director.\u003c/p>\n\u003cp>“These Sundance Festival drive-in screenings at Fort Mason are a chance for us to get a little closer to bringing the theatrical experience we’ve missed so much back to San Francisco,” said Roxie operations manager Kelly Wiggin.\u003c/p>\n\u003cp>Along with its online programming, Sundance selected the Roxie as one of roughly 30 partner film presenters around the country. The historic indie theater is the only Northern California presenter; the state’s other two are in the Los Angeles area.\u003c/p>\n\u003cp>It’s the first time in the festival’s history moviegoers will get to experience Sundance’s entire program without having to trek out to Utah.\u003c/p>\n\u003cp>Moviegoers can see films from an array of Bay Area filmmakers at this year’s festival. Locally-produced highlights include Natalia Almada’s documentary \u003ca href=\"https://www.documentary.org/project/users\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Users\u003c/em>\u003c/a> about the dehumanizing consequences of technological advances, and a pair of documentaries focused on Bay Area public schools: Debbie Lum’s \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder\u003c/em>\u003c/a>, featuring students from San Francisco’s Lowell High School; and Peter Nicks’ \u003ca href=\"http://openhood.org/homeroom/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Homeroom\u003c/em>\u003c/a>, set in Oakland High School. (\u003cem>Homeroom\u003c/em> is only available online; it will not be screened at Fort Mason.)\u003c/p>\n\u003cp>“To have our local story about a San Francisco institution, Lowell High School, be at Sundance is so exciting to begin with,” said \u003cem>Try Harder\u003c/em> director Lum. “This year, we can have a premiere simultaneously in the exclusive venue of Park City and in San Francisco, so that the community at the center of the story can actually attend Sundance.”\u003c/p>\n\u003cp>“For us it was a difficult decision to apply to Sundance knowing COVID would be a factor because the film is really intended for a theater,” said \u003cem>Users\u003c/em> director Almada. “But when we thought about it more deeply, it felt really important to keep making our work as a reflection and a response to the time in which we are living. Waiting for this to all pass didn’t feel right. The silver lining of not being able to go to Sundance is the possibility of having Sundance come to us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2021 Sundance Film Festival runs Jan. 28 through Feb. 3. Full San Francisco Sundance lineup and tickets \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Arts and culture make up a huge, \u003ca href=\"https://www.arts.gov/about/news/2020/during-economic-highs-and-lows-arts-are-key-segment-us-economy\" target=\"_blank\" rel=\"noopener noreferrer\">$877 billion industry that generates more than five million jobs across the country\u003c/a>. But the amount of federal funding for the arts is tiny when compared with smaller industries like agriculture—so what are arts organizations hoping for under the Biden administration?\u003c/p>\n\u003cp>The National Endowment for the Arts gives grants to organizations across the country—from big ones like Lincoln Center and NPR to small ones like the Wichita Falls Alliance for Arts and Culture. “West Texas Wichita Falls. We’re not in Kansas,” says executive director Margie Reese, who adds that her group used one of their NEA grants to commission regional artists to make murals in economically distressed areas.\u003c/p>\n\u003cp>For Vernon, Texas, 25 year old Selena Mize painted musician and native son, the late Roy Orbison. It was a name Mize didn’t know—until Reese played her one of his songs, “Pretty Woman.” [aside postid='arts_13890625']\u003c/p>\n\u003cp>“At first I didn’t know that was Roy Orbison,” Mize laughs. “I thought it was Elvis Presley.” She says growing up she heard both singers while listening to music with her father and grandparents. Her mural shows Orbison with his trademark dark sunglasses, playing his guitar. She says the attention she got for the work was life-changing. “The community was very excited and open about it, and it’s just something I would never forget.”\u003c/p>\n\u003cp>“This bright, sunshiny mural is bringing pride back to Vernon, Texas,” Reese says. “The power of visual arts to bring a community back to life—this is what our attempt was with that mural.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When it comes to government support of the arts, Reese is a veteran, having worked in the cultural affairs departments in Dallas and Los Angeles. She’s seen presidents and NEA chairs come and go. “When you have a change in administration and a shift in philosophy about arts funding,” she says, “the entire field begins to worry about what’s going to happen, how is this change going to affect us?”\u003c/p>\n\u003cp>“Steady” is the word Reese uses to describe federal arts funding under President Trump. Even though each of his budgets proposed eliminating the arts and humanities endowments—as well as the Institute of Museum and Library Services—Congress rejected the cuts.\u003c/p>\n\u003cp>“There’s a lot of love for libraries and for museums inside the Beltway,” says Crosby Kemper, who was the Trump administration’s pick to head the IMLS. Like the endowments, the Institute distributes grants, conducts research and helps shape policies that affect museums and libraries. Even though Republicans often talk about cutting funding for the arts, Kemper points out that all three budgets have increased slightly over the last three years: “I think you have to look at what actually happens, and what actually happens for the IMLS, the NEA and the NEH is they have a lot of support in the political world—and including inside the administration.” [aside postid='arts_13890207']\u003c/p>\n\u003cp>But for actor Kal Penn, Trump’s rhetoric has been damaging to the arts. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102859368\" target=\"_blank\" rel=\"noopener noreferrer\">Penn was appointed by President Obama to the President’s Committee on the Arts and Humanities\u003c/a>, an advisory group founded in 1982. He had planned to stay on, but after Trump’s handling of the deadly white supremacist rally in Charlottesville, \u003ca href=\"https://news.artnet.com/art-world/resignation-arts-committee-trump-1056158\" target=\"_blank\" rel=\"noopener noreferrer\">he and everyone else on the committee resigned\u003c/a>.\u003c/p>\n\u003cp>“The President’s Committee on the Arts and Humanities was then never relaunched under the Trump administration, just to show you that it really wasn’t a priority at all,” he says.\u003c/p>\n\u003cp>Penn says he wants to see the Biden administration give the Endowments an “astronomical increase.”\u003c/p>\n\u003cp>“I think it’s important now more than ever to be bold,” he says, noting that the arts benefit education, innovation, mental and emotional health. Plus, he says, it’s a good investment.\u003c/p>\n\u003cp>“When you say, okay, well, why did you spend all this money to save this theater—yes, you’re saving the theater, and maybe you’re saving the 500 jobs that the theater provides for the local community, but you’re also then saving the restaurants that people go to the night of the show,” he says. “You’re saving the hotels that the visiting artists stay at. You’re saving, you know, the parking facility. And it may sound like very little, but when you start to multiply that by the numbers of businesses like this that exist around the country, you can see why investing in the arts really makes economic sense.”\u003c/p>\n\u003cp>Earlier this year, the Bureau of Economic Analysis and the National Endowment for the Arts released a report that said the arts contributed 4.5 percent to the country’s GDP in 2017. That’s more than agriculture and transportation. Arts advocate Charles Segars, head of the Ovation TV network, says it’s time for the arts to be taken just as seriously by the White House, by creating a cabinet level Secretary of Arts and Culture. [aside postid='arts_13888399']\u003c/p>\n\u003cp>“It centralizes, in the positive sense of the word, all of the leverage of the United States government. Remember, you have arts pockets throughout the Department of State, Department of Defense. Even Transportation and Agriculture has a taste of that, of arts programs that they help support.”\u003c/p>\n\u003cp>Segars says the Cabinet-level position would also handle intellectual property rights and exports. Years ago, music producer Quincy Jones tried to get Obama to create a Secretary of Arts; it never happened, but Segars says he thinks it’s a realistic goal. “I think it’s going to take time,” he says, “but we all have to talk about it.”\u003c/p>\n\u003cp>Crosby Kemper of the IMLS says he can’t predict what the next administration will do, but he thinks Biden’s personality points in that direction. “I’d say the first and most important thing is that he’s a great lover of Irish poetry and therefore clearly a civilized man.”\u003c/p>\n\u003cp>The Biden transition team did not respond to requests for comment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Biden+Cabinet+Secretary+For+Arts%3F+Advocates+Are+Hopeful&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts and culture make up a huge, \u003ca href=\"https://www.arts.gov/about/news/2020/during-economic-highs-and-lows-arts-are-key-segment-us-economy\" target=\"_blank\" rel=\"noopener noreferrer\">$877 billion industry that generates more than five million jobs across the country\u003c/a>. But the amount of federal funding for the arts is tiny when compared with smaller industries like agriculture—so what are arts organizations hoping for under the Biden administration?\u003c/p>\n\u003cp>The National Endowment for the Arts gives grants to organizations across the country—from big ones like Lincoln Center and NPR to small ones like the Wichita Falls Alliance for Arts and Culture. “West Texas Wichita Falls. We’re not in Kansas,” says executive director Margie Reese, who adds that her group used one of their NEA grants to commission regional artists to make murals in economically distressed areas.\u003c/p>\n\u003cp>For Vernon, Texas, 25 year old Selena Mize painted musician and native son, the late Roy Orbison. It was a name Mize didn’t know—until Reese played her one of his songs, “Pretty Woman.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At first I didn’t know that was Roy Orbison,” Mize laughs. “I thought it was Elvis Presley.” She says growing up she heard both singers while listening to music with her father and grandparents. Her mural shows Orbison with his trademark dark sunglasses, playing his guitar. She says the attention she got for the work was life-changing. “The community was very excited and open about it, and it’s just something I would never forget.”\u003c/p>\n\u003cp>“This bright, sunshiny mural is bringing pride back to Vernon, Texas,” Reese says. “The power of visual arts to bring a community back to life—this is what our attempt was with that mural.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it comes to government support of the arts, Reese is a veteran, having worked in the cultural affairs departments in Dallas and Los Angeles. She’s seen presidents and NEA chairs come and go. “When you have a change in administration and a shift in philosophy about arts funding,” she says, “the entire field begins to worry about what’s going to happen, how is this change going to affect us?”\u003c/p>\n\u003cp>“Steady” is the word Reese uses to describe federal arts funding under President Trump. Even though each of his budgets proposed eliminating the arts and humanities endowments—as well as the Institute of Museum and Library Services—Congress rejected the cuts.\u003c/p>\n\u003cp>“There’s a lot of love for libraries and for museums inside the Beltway,” says Crosby Kemper, who was the Trump administration’s pick to head the IMLS. Like the endowments, the Institute distributes grants, conducts research and helps shape policies that affect museums and libraries. Even though Republicans often talk about cutting funding for the arts, Kemper points out that all three budgets have increased slightly over the last three years: “I think you have to look at what actually happens, and what actually happens for the IMLS, the NEA and the NEH is they have a lot of support in the political world—and including inside the administration.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for actor Kal Penn, Trump’s rhetoric has been damaging to the arts. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102859368\" target=\"_blank\" rel=\"noopener noreferrer\">Penn was appointed by President Obama to the President’s Committee on the Arts and Humanities\u003c/a>, an advisory group founded in 1982. He had planned to stay on, but after Trump’s handling of the deadly white supremacist rally in Charlottesville, \u003ca href=\"https://news.artnet.com/art-world/resignation-arts-committee-trump-1056158\" target=\"_blank\" rel=\"noopener noreferrer\">he and everyone else on the committee resigned\u003c/a>.\u003c/p>\n\u003cp>“The President’s Committee on the Arts and Humanities was then never relaunched under the Trump administration, just to show you that it really wasn’t a priority at all,” he says.\u003c/p>\n\u003cp>Penn says he wants to see the Biden administration give the Endowments an “astronomical increase.”\u003c/p>\n\u003cp>“I think it’s important now more than ever to be bold,” he says, noting that the arts benefit education, innovation, mental and emotional health. Plus, he says, it’s a good investment.\u003c/p>\n\u003cp>“When you say, okay, well, why did you spend all this money to save this theater—yes, you’re saving the theater, and maybe you’re saving the 500 jobs that the theater provides for the local community, but you’re also then saving the restaurants that people go to the night of the show,” he says. “You’re saving the hotels that the visiting artists stay at. You’re saving, you know, the parking facility. And it may sound like very little, but when you start to multiply that by the numbers of businesses like this that exist around the country, you can see why investing in the arts really makes economic sense.”\u003c/p>\n\u003cp>Earlier this year, the Bureau of Economic Analysis and the National Endowment for the Arts released a report that said the arts contributed 4.5 percent to the country’s GDP in 2017. That’s more than agriculture and transportation. Arts advocate Charles Segars, head of the Ovation TV network, says it’s time for the arts to be taken just as seriously by the White House, by creating a cabinet level Secretary of Arts and Culture. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It centralizes, in the positive sense of the word, all of the leverage of the United States government. Remember, you have arts pockets throughout the Department of State, Department of Defense. Even Transportation and Agriculture has a taste of that, of arts programs that they help support.”\u003c/p>\n\u003cp>Segars says the Cabinet-level position would also handle intellectual property rights and exports. Years ago, music producer Quincy Jones tried to get Obama to create a Secretary of Arts; it never happened, but Segars says he thinks it’s a realistic goal. “I think it’s going to take time,” he says, “but we all have to talk about it.”\u003c/p>\n\u003cp>Crosby Kemper of the IMLS says he can’t predict what the next administration will do, but he thinks Biden’s personality points in that direction. “I’d say the first and most important thing is that he’s a great lover of Irish poetry and therefore clearly a civilized man.”\u003c/p>\n\u003cp>The Biden transition team did not respond to requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The creation of new Smithsonian museums dedicated to Latinos and women can now move forward. Earlier this month, Sen. Mike Lee (R-UT) was the lone vote \u003ca href=\"https://www.npr.org/2020/12/11/945389843/sen-mike-lee-blocks-legislation-for-latino-womens-museums\" target=\"_blank\" rel=\"noopener noreferrer\">blocking\u003c/a> legislation, saying “separate-but-equal museums” would “further divide an already divided nation.” Supporters of both museums quickly moved to ensure the museums would be included in the $900 billion year-end spending package which was passed by Congress on Monday and now heads to President Trump’s desk.\u003c/p>\n\u003cp>“Victory finally came today,” Sen. Bob Menendez (D-NJ) wrote in a \u003ca href=\"https://www.menendez.senate.gov/newsroom/press/menendez-national-american-latino-museum-will-be-built\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>. Noting that a National Museum of the American Latino has been decades in the making, Menendez says, “We have overcome tremendous obstacles and unbelievable hurdles to get to this historic moment, but, as I’ve said before, Latinos are used to overcoming obstacles.”\u003c/p>\n\u003cp>Estuardo Rodriguez, president of \u003ca href=\"https://americanlatinomuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Friends of the American Latino Museum\u003c/a>, tells NPR it’s fitting that the museum is included in the coronavirus relief bill. [aside postid='arts_11830777']\u003c/p>\n\u003cp>“With the Latino community on the frontlines of this pandemic, in the food service industry, agriculture, healthcare services and caring for the elderly … Latinos and Latinas have been disproportionately impacted by the pandemic, suffering high rates of infection and death.” He continues, “The legislation to create a museum serves to not only honor the past contributions of American Latinos for over 500 years, but recognize their sacrifices today.”\u003c/p>\n\u003cp>The Smithsonian cannot build a new museum without federal legislation but both the Latino and women’s museums have bipartisan support.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrating the inclusion of a Smithsonian Women’s History Museum in the omnibus spending package, Rep. Carolyn B. Maloney (D-NY) writes that she is “thrilled that we are finally set to pass this historic legislation.” She continues, “How fitting that we pass this bill as we mark the centennial of the 19th Amendment and in the year in which we elected our first woman vice president.” [aside postid='arts_13816161']\u003c/p>\n\u003cp>Similar to the financing of the \u003ca href=\"https://www.npr.org/series/493945132/grand-opening-the-national-museum-of-african-american-history-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of African American History and Culture\u003c/a>, the last Smithsonian museum built on the National Mall, the law requires costs be covered by a 50/50 split between public and private dollars. The Smithsonian’s Board of Regents will be tasked with finding space for both museums on or near the National Mall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sen. Lee of Utah was one of six senators, all Republican, to vote no on the omnibus spending bill.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Congress+Approves+2+New+Museums+Honoring+American+Latinos%2C+Women%27s+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The creation of new Smithsonian museums dedicated to Latinos and women can now move forward. Earlier this month, Sen. Mike Lee (R-UT) was the lone vote \u003ca href=\"https://www.npr.org/2020/12/11/945389843/sen-mike-lee-blocks-legislation-for-latino-womens-museums\" target=\"_blank\" rel=\"noopener noreferrer\">blocking\u003c/a> legislation, saying “separate-but-equal museums” would “further divide an already divided nation.” Supporters of both museums quickly moved to ensure the museums would be included in the $900 billion year-end spending package which was passed by Congress on Monday and now heads to President Trump’s desk.\u003c/p>\n\u003cp>“Victory finally came today,” Sen. Bob Menendez (D-NJ) wrote in a \u003ca href=\"https://www.menendez.senate.gov/newsroom/press/menendez-national-american-latino-museum-will-be-built\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>. Noting that a National Museum of the American Latino has been decades in the making, Menendez says, “We have overcome tremendous obstacles and unbelievable hurdles to get to this historic moment, but, as I’ve said before, Latinos are used to overcoming obstacles.”\u003c/p>\n\u003cp>Estuardo Rodriguez, president of \u003ca href=\"https://americanlatinomuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Friends of the American Latino Museum\u003c/a>, tells NPR it’s fitting that the museum is included in the coronavirus relief bill. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“With the Latino community on the frontlines of this pandemic, in the food service industry, agriculture, healthcare services and caring for the elderly … Latinos and Latinas have been disproportionately impacted by the pandemic, suffering high rates of infection and death.” He continues, “The legislation to create a museum serves to not only honor the past contributions of American Latinos for over 500 years, but recognize their sacrifices today.”\u003c/p>\n\u003cp>The Smithsonian cannot build a new museum without federal legislation but both the Latino and women’s museums have bipartisan support.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrating the inclusion of a Smithsonian Women’s History Museum in the omnibus spending package, Rep. Carolyn B. Maloney (D-NY) writes that she is “thrilled that we are finally set to pass this historic legislation.” She continues, “How fitting that we pass this bill as we mark the centennial of the 19th Amendment and in the year in which we elected our first woman vice president.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Similar to the financing of the \u003ca href=\"https://www.npr.org/series/493945132/grand-opening-the-national-museum-of-african-american-history-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of African American History and Culture\u003c/a>, the last Smithsonian museum built on the National Mall, the law requires costs be covered by a 50/50 split between public and private dollars. The Smithsonian’s Board of Regents will be tasked with finding space for both museums on or near the National Mall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sen. Lee of Utah was one of six senators, all Republican, to vote no on the omnibus spending bill.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Congress+Approves+2+New+Museums+Honoring+American+Latinos%2C+Women%27s+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Help might be on the way for independent music venues, which have been in dire financial straits since the pandemic began. With no revenue coming in, some venue owners have \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\">called it quits\u003c/a> and gone out of business. Meanwhile, others have \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">dug into their retirements\u003c/a> and amassed debt to hang on to their establishments until the vaccine arrives. Crowdfunding, selling merchandise or \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">grants from philanthropic foundations\u003c/a> have provided some relief, but not enough to cover an average San Francisco concert hall’s estimated $18,000–$35,000 monthly overhead costs.\u003c/p>\n\u003cp>The long-awaited \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> promises some help. It’s part of the COVID-19 stimulus package that Congressional Democrats and Republicans finally agreed upon on Sunday after months of stalling and debate. The House and Senate must now pass the bill, and President Trump must sign it, before it becomes law. If passed, $15 billion would go to grant programs for live venues, independent movie theaters and other cultural institutions, according to a statement from House Speaker Nancy Pelosi and Senate Minority Leader Chuck Schumer. Each qualifying venue would be awarded a grant equal to 45% of its 2019 operating costs, or up to $12 million.\u003c/p>\n\u003cp>Dayna Frank, board president of the National Independent Venue Association, praised the compromise in a statement. She heads an advocacy group of club owners that includes over 100 members in Northern California. “We’re also incredibly grateful that this bill provides Pandemic Unemployment Assistance which will help the millions of people who lost their jobs through no fault of their own during this economic crisis,” she wrote. “We urge swift passage of this legislation, which will assist those in the greatest need and ensure the music lives on for generations to come.”\u003c/p>\n\u003cp>Timing is crucial for Bay Area music venues, which were already operating on thin profit margins due to high rent and mortgage costs. Recently, some club owners have said they’re weeks or months away from closing. [aside postid='arts_13890093']\u003c/p>\n\u003cp>While pleased with the compromise, San Francisco Venue Coalition member Casey Lowdermilk says he’s cautiously optimistic. “There are a lot of steps still to be done—implementation, distribution and tracking all the venues in San Francisco to make sure they can get this money and survive this shutdown,” says Lowdermilk, who is also the assistant general manager of Bill Graham Civic Auditorium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says the San Francisco Venue Coalition will continue its campaign in city hall, which urges San Francisco to set aside $48 million to allow around 50 music venues to survive 16–18 months of closure. “We’re kind of concerned that federal money might not be timely enough, so we’re still pushing forward in San Francisco as planned,” Lowdermilk says.\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney also emphasized the sense of urgency. “I\u003cspan class=\"s1\"> think our concern now is how quickly that money can be disbursed,” he says. “Some of these venues are weeks or months away from going under. They can’t wait until next year or for the federal bureaucracy to figure it out.”\u003c/span>\u003c/p>\n\u003cp>Last week, Haney proposed the creation of the San Francisco Independent Venue Recovery Fund. It doesn’t have a dollar figure attached to it yet, and the Board of Supervisors is set to discuss it at tomorrow’s meeting on Dec. 22.\u003c/p>\n\u003cp>Haney says that while this federal stimulus package doesn’t include funds directly for city and state governments—which San Francisco badly needs to avoid job and service cuts—his office is researching options for funding music venue relief. Those could include soliciting donations from the private sector, or a loan program that can provide relief in the short term until Save Our Stages money arrives.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“These venues have a lot of people who love them and want to support them,” Haney says. “T\u003c/span>\u003cspan class=\"s1\">he local funding is challenging obviously because we’re facing a massive deficit and are going to make a lot of cuts to our budget. But I think this should be prioritized, especially if it’s money that can be matched or reimbursed at a later date. … I\u003c/span>\u003cspan class=\"s1\">f San Francisco loses these venues, the longterm impacts will be very severe.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include quotes from Supervisor Matt Haney.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Help might be on the way for independent music venues, which have been in dire financial straits since the pandemic began. With no revenue coming in, some venue owners have \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\">called it quits\u003c/a> and gone out of business. Meanwhile, others have \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">dug into their retirements\u003c/a> and amassed debt to hang on to their establishments until the vaccine arrives. Crowdfunding, selling merchandise or \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">grants from philanthropic foundations\u003c/a> have provided some relief, but not enough to cover an average San Francisco concert hall’s estimated $18,000–$35,000 monthly overhead costs.\u003c/p>\n\u003cp>The long-awaited \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> promises some help. It’s part of the COVID-19 stimulus package that Congressional Democrats and Republicans finally agreed upon on Sunday after months of stalling and debate. The House and Senate must now pass the bill, and President Trump must sign it, before it becomes law. If passed, $15 billion would go to grant programs for live venues, independent movie theaters and other cultural institutions, according to a statement from House Speaker Nancy Pelosi and Senate Minority Leader Chuck Schumer. Each qualifying venue would be awarded a grant equal to 45% of its 2019 operating costs, or up to $12 million.\u003c/p>\n\u003cp>Dayna Frank, board president of the National Independent Venue Association, praised the compromise in a statement. She heads an advocacy group of club owners that includes over 100 members in Northern California. “We’re also incredibly grateful that this bill provides Pandemic Unemployment Assistance which will help the millions of people who lost their jobs through no fault of their own during this economic crisis,” she wrote. “We urge swift passage of this legislation, which will assist those in the greatest need and ensure the music lives on for generations to come.”\u003c/p>\n\u003cp>Timing is crucial for Bay Area music venues, which were already operating on thin profit margins due to high rent and mortgage costs. Recently, some club owners have said they’re weeks or months away from closing. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says the San Francisco Venue Coalition will continue its campaign in city hall, which urges San Francisco to set aside $48 million to allow around 50 music venues to survive 16–18 months of closure. “We’re kind of concerned that federal money might not be timely enough, so we’re still pushing forward in San Francisco as planned,” Lowdermilk says.\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney also emphasized the sense of urgency. “I\u003cspan class=\"s1\"> think our concern now is how quickly that money can be disbursed,” he says. “Some of these venues are weeks or months away from going under. They can’t wait until next year or for the federal bureaucracy to figure it out.”\u003c/span>\u003c/p>\n\u003cp>Last week, Haney proposed the creation of the San Francisco Independent Venue Recovery Fund. It doesn’t have a dollar figure attached to it yet, and the Board of Supervisors is set to discuss it at tomorrow’s meeting on Dec. 22.\u003c/p>\n\u003cp>Haney says that while this federal stimulus package doesn’t include funds directly for city and state governments—which San Francisco badly needs to avoid job and service cuts—his office is researching options for funding music venue relief. Those could include soliciting donations from the private sector, or a loan program that can provide relief in the short term until Save Our Stages money arrives.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“These venues have a lot of people who love them and want to support them,” Haney says. “T\u003c/span>\u003cspan class=\"s1\">he local funding is challenging obviously because we’re facing a massive deficit and are going to make a lot of cuts to our budget. But I think this should be prioritized, especially if it’s money that can be matched or reimbursed at a later date. … I\u003c/span>\u003cspan class=\"s1\">f San Francisco loses these venues, the longterm impacts will be very severe.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include quotes from Supervisor Matt Haney.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> To protect the identities of some individuals interviewed for this story due to immigration status, only first and middle names were used.\u003c/em>\u003c/p>\n\u003cp>One evening back in June, José Antonio’s cell phone rang. He saw it was his boss calling and realized it could only mean one thing. It had been weeks since they had a new client. For almost his entire adult life, José Antonio has worked as a carpenter. He managed to keep his job through past crises, but he knew that this time he wouldn’t be as lucky.\u003c/p>\n\u003cp>“I felt it in my fingertips. But I didn’t even want to think about it because it brought me down,” he says in Spanish. “When I lost my job, all I could think about was how I could buy food for my family. We had no savings, nothing. I had to think fast.”\u003c/p>\n\u003cp>Looking for ideas, the 41-year-old Oakland resident and father of two went on a walk. Once outside, he realized that he forgot his face mask. That was it: \u003cem>face masks\u003c/em>. That was what was going to get him through this.\u003c/p>\n\u003cp>“Necessity, brother. Necessity is the biggest reason that exists in the world. The need to bring home something to eat everyday,” he says. “When you’re in that spot, your brain thinks a lot quicker.” He had no resources to open up a store and doesn’t qualify for federal benefits. But he knows Oakland well, especially his own neighborhood, Fruitvale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A friend who was traveling to Los Angeles for the weekend told him that he was buying boxes with hundreds of face masks on his trip. Turns out these weren’t simple KN95 or blue surgical masks, but instead a wild collection of designs and prints with the logos of European soccer teams, the faces of Mexican banda music superstars and even Spiderman.\u003c/p>\n\u003cp>He bought a small foldable plastic table and pieces of cardboard where he organizes dozens of face masks, each wrapped in plastic. He placed his stand on several blocks throughout Fruitvale until he decided on a parking lot outside a supermarket, near International Boulevard.\u003c/p>\n\u003cp>“People treat me well here, the manager of the supermarket here has been good to us and lets us street vendors sell here,” José Antonio says. He keeps to himself while he works, except to speak to customers. However, he’s started to notice that almost every week, there’s a new face mask seller in Oakland.\u003c/p>\n\u003cp>“There’s a lot of competition, but still space for everyone. Many travel all around the Bay looking for a place to sell,” he explains. A few blocks down International, there’s another mask seller. Get on BART for one stop, and you might meet several more near the Coliseum.\u003c/p>\n\u003cfigure id=\"attachment_13890514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890514 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jose%CC%81-Antonio-and-his-booth-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">After losing his job as a carpenter, José Antonio began selling face masks in Oakland. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People ask me if this is how I do my part to stop the pandemic. And I tell them, of course! Of course I am!” says María. She sells her face masks in San Francisco’s Mission District, near 23rd Street.\u003c/p>\n\u003cp>María is retired and has lived in San Francisco since she arrived from El Salvador 35 years ago. Selling masks helps her cover some expenses, but she started selling so she could have a reason to leave the house, at least on the weekends. “I started to do this because I could no longer stay inside my house everyday. Being alone in the house for five months is so boring. So I wanted to move around, figure out something that would keep me sane,” she says.\u003c/p>\n\u003cp>An experienced street seller, María has sold all kinds of things. Clothing, imitation jewelry, accessories. “But never face masks. I had never even held one until this year,” she laughs. And now she’s honed her skills to find the most unique designs that catch a pedestrian’s eye.\u003c/p>\n\u003cp>[pullquote size='large' citation='González']“Ever since I came to this country, I’ve reinvented myself many times. To survive. Not to save money, but to survive. And now, face masks help me survive in so many ways.”[/pullquote]\u003c/p>\n\u003cp>What’s one of her most popular masks? A face mask printed with the Salvadoran president Nayib Bukele, smiling at the camera. “So many people ask for him. People ask for masks with their teams’ logo, their favorite brands—they ask for every type of design! Every type of taste you can imagine!”\u003c/p>\n\u003cp>While she values the aesthetic value of each mask, María cares that each mask actually protects her customers. Sitting on a chair next to her stall, she sees countless used surgical face masks flying through the street. She controls her frustration when she sees someone without one.\u003c/p>\n\u003cp>“One day a man buys me a face mask. The next day, I see him crossing the street with no mask. We can’t force anyone to do anything,” she says. “We can only control what we ourselves do, and for me, that’s making sure people have access to masks they can reuse, that they feel safe with.”\u003c/p>\n\u003cfigure id=\"attachment_13890515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890515 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Mari%CC%81a-at-her-stall-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">María sees her face mask business as a way of keeping her community safe. The Mission district, where she’s based, has one of San Francisco’s highest COVID-19 rates. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The risk of working all day outside is very present in María’s mind. Everyday, she hears in the news how the Mission is one of the neighborhoods in San Francisco most affected by coronavirus. \u003ca href=\"https://data.sfgov.org/stories/s/Maps-of-COVID-19-Cases/adm5-wq8i/\" target=\"_blank\" rel=\"noopener noreferrer\">According to the city\u003c/a>, the current monthly case rate in the Mission is 89 cases per 10,000 people, one of the highest in San Francisco.\u003c/p>\n\u003cp>But she still decides to come out and sell face masks. “I protect myself,” she says. “And I help others protect themselves.”\u003c/p>\n\u003ch2>“You Don’t Let Doors Close on You”\u003c/h2>\n\u003cp>Throughout the Bay Area, dozens of individuals have set up informal stalls on the sidewalk, parking lots and swap meets to sell face masks, an indicator of indispensable and undeniable necessity during the pandemic. Many have little to no experience selling in the streets, but selling face masks has been the only opportunity available during one of the worst economic crises in recent history.\u003c/p>\n\u003cp>“You don’t let doors close on you. If you want to survive, you have to hustle,” says González, who sells masks on Alum Rock Avenue in East San José, and asked to go by only his last name. He worked as a gardener for 15 years before losing his job during the summer. [aside postid='forum_2010101881190']\u003c/p>\n\u003cp>“Ever since I came to this country, I’ve reinvented myself many times. To survive. Not to save money, but to survive. And now, face masks help me survive in so many ways,” he says.\u003c/p>\n\u003cp>And while he does not count with a Nayib Bukele mask in his inventory, he still sells masks decorated with the face of another Latin American president, that of Andrés Manuel López Obrador, of México. Not the most popular design, he notes.\u003c/p>\n\u003cp>He takes great care in showing each mask, never removing them from the plastic wrapper. The masks up for display are not for sale. González explains that they’ve been out all day, exposed to all those that pass by. Whenever he sells, he never lets his guard down. The 95116 and 95112 zip codes that make up East San José registers the highest \u003ca href=\"https://www.sccgov.org/sites/covid19/Pages/dashboard-cases-by-zip-code-and-city.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">case rates\u003c/a> in all of Santa Clara County.\u003c/p>\n\u003cfigure id=\"attachment_13890516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Gonza%CC%81lez-at-his-booth-with-Lo%CC%81pez-Obrador-mask-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-2048x1537.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You don’t let doors close on you. If you want to survive, you have to hustle,” says San José face mask vendor González, who lost his job as a gardener during the pandemic. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over in Fruitvale, José Antonio shows the same resolve against similar odds. “I have a responsibility to my family,” he says. Fruitvale has also borne the brunt of the pandemic in Oakland.\u003c/p>\n\u003cp>One of the challenges health officials have faced in Fruitvale is making sure that COVID-19 prevention information reaches the Indigenous community, mostly composed of Mam-speaking immigrants from Guatemala. While public health information is available in both English and Spanish, there’s much less in Mam.\u003c/p>\n\u003cp>Some of the most popular designs at José Antonio’s stall are those embroidered with patterns popular in northern Guatemala, made by Indigenous artisans. “Having this design on is like wearing a small part of your tradition, but presented in a way where it now seems very normal,” he explains.\u003c/p>\n\u003cp>“Many of the people I know don’t want to be targeted when they show that they’re Indigenous,” he continues. “But when they wear a mask with these designs, no one points them out.”\u003c/p>\n\u003ch2>What Your Mask Says\u003c/h2>\n\u003cp>While some mask designs, like those emblazoned with sports teams logos, can be found in every street stand, it’s the handmade masks bearing embroidery crafted by Indigenous artisans that differ from stall to stall, from city to city. [aside label='More Arts & Culture' postid='arts_13890437,arts_13890207,arts_13890197']\u003c/p>\n\u003cp>“Folks come and feel the texture that is handmade. It’s so different from what exists in stores, all that factory-made stuff,” says César Augusto, whose stand is located on Mission and 23rd in San Francisco. Earlier this year, he was forced to close his store on 24th Street, where he sold craftwork by Indigenous artisans from all over the Americas for 17 years. He and his wife transformed their business into two booths, each full with artwork, earrings, and clothing.\u003c/p>\n\u003cp>“In a way, it was a good thing that we closed. It came at the right time. And now, I can breathe a little easier because I can start again, opening a new path for my wife and I,” he explains. Augusto migrated to the U.S. from Ecuador, where he was raised by a family of artisans. Holding a face mask his family sent him, he ponders on the value this piece of fabric has in his life now.\u003c/p>\n\u003cp>“They’ve become their own type of craftwork. I never imagined this would happen,” he says. The mask he’s wearing also comes from Ecuador, embroidered with Quechua patterns. A customer passes by and asks if he’s got any masks printed with the flag of Honduras. Turns out that they just ran out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“People always find ways to show the world where they come from and who they are, even during a pandemic,” Augusto says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> To protect the identities of some individuals interviewed for this story due to immigration status, only first and middle names were used.\u003c/em>\u003c/p>\n\u003cp>One evening back in June, José Antonio’s cell phone rang. He saw it was his boss calling and realized it could only mean one thing. It had been weeks since they had a new client. For almost his entire adult life, José Antonio has worked as a carpenter. He managed to keep his job through past crises, but he knew that this time he wouldn’t be as lucky.\u003c/p>\n\u003cp>“I felt it in my fingertips. But I didn’t even want to think about it because it brought me down,” he says in Spanish. “When I lost my job, all I could think about was how I could buy food for my family. We had no savings, nothing. I had to think fast.”\u003c/p>\n\u003cp>Looking for ideas, the 41-year-old Oakland resident and father of two went on a walk. Once outside, he realized that he forgot his face mask. That was it: \u003cem>face masks\u003c/em>. That was what was going to get him through this.\u003c/p>\n\u003cp>“Necessity, brother. Necessity is the biggest reason that exists in the world. The need to bring home something to eat everyday,” he says. “When you’re in that spot, your brain thinks a lot quicker.” He had no resources to open up a store and doesn’t qualify for federal benefits. But he knows Oakland well, especially his own neighborhood, Fruitvale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A friend who was traveling to Los Angeles for the weekend told him that he was buying boxes with hundreds of face masks on his trip. Turns out these weren’t simple KN95 or blue surgical masks, but instead a wild collection of designs and prints with the logos of European soccer teams, the faces of Mexican banda music superstars and even Spiderman.\u003c/p>\n\u003cp>He bought a small foldable plastic table and pieces of cardboard where he organizes dozens of face masks, each wrapped in plastic. He placed his stand on several blocks throughout Fruitvale until he decided on a parking lot outside a supermarket, near International Boulevard.\u003c/p>\n\u003cp>“People treat me well here, the manager of the supermarket here has been good to us and lets us street vendors sell here,” José Antonio says. He keeps to himself while he works, except to speak to customers. However, he’s started to notice that almost every week, there’s a new face mask seller in Oakland.\u003c/p>\n\u003cp>“There’s a lot of competition, but still space for everyone. Many travel all around the Bay looking for a place to sell,” he explains. A few blocks down International, there’s another mask seller. Get on BART for one stop, and you might meet several more near the Coliseum.\u003c/p>\n\u003cfigure id=\"attachment_13890514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890514 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jose%CC%81-Antonio-and-his-booth-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">After losing his job as a carpenter, José Antonio began selling face masks in Oakland. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People ask me if this is how I do my part to stop the pandemic. And I tell them, of course! Of course I am!” says María. She sells her face masks in San Francisco’s Mission District, near 23rd Street.\u003c/p>\n\u003cp>María is retired and has lived in San Francisco since she arrived from El Salvador 35 years ago. Selling masks helps her cover some expenses, but she started selling so she could have a reason to leave the house, at least on the weekends. “I started to do this because I could no longer stay inside my house everyday. Being alone in the house for five months is so boring. So I wanted to move around, figure out something that would keep me sane,” she says.\u003c/p>\n\u003cp>An experienced street seller, María has sold all kinds of things. Clothing, imitation jewelry, accessories. “But never face masks. I had never even held one until this year,” she laughs. And now she’s honed her skills to find the most unique designs that catch a pedestrian’s eye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s one of her most popular masks? A face mask printed with the Salvadoran president Nayib Bukele, smiling at the camera. “So many people ask for him. People ask for masks with their teams’ logo, their favorite brands—they ask for every type of design! Every type of taste you can imagine!”\u003c/p>\n\u003cp>While she values the aesthetic value of each mask, María cares that each mask actually protects her customers. Sitting on a chair next to her stall, she sees countless used surgical face masks flying through the street. She controls her frustration when she sees someone without one.\u003c/p>\n\u003cp>“One day a man buys me a face mask. The next day, I see him crossing the street with no mask. We can’t force anyone to do anything,” she says. “We can only control what we ourselves do, and for me, that’s making sure people have access to masks they can reuse, that they feel safe with.”\u003c/p>\n\u003cfigure id=\"attachment_13890515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890515 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Mari%CC%81a-at-her-stall-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">María sees her face mask business as a way of keeping her community safe. The Mission district, where she’s based, has one of San Francisco’s highest COVID-19 rates. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The risk of working all day outside is very present in María’s mind. Everyday, she hears in the news how the Mission is one of the neighborhoods in San Francisco most affected by coronavirus. \u003ca href=\"https://data.sfgov.org/stories/s/Maps-of-COVID-19-Cases/adm5-wq8i/\" target=\"_blank\" rel=\"noopener noreferrer\">According to the city\u003c/a>, the current monthly case rate in the Mission is 89 cases per 10,000 people, one of the highest in San Francisco.\u003c/p>\n\u003cp>But she still decides to come out and sell face masks. “I protect myself,” she says. “And I help others protect themselves.”\u003c/p>\n\u003ch2>“You Don’t Let Doors Close on You”\u003c/h2>\n\u003cp>Throughout the Bay Area, dozens of individuals have set up informal stalls on the sidewalk, parking lots and swap meets to sell face masks, an indicator of indispensable and undeniable necessity during the pandemic. Many have little to no experience selling in the streets, but selling face masks has been the only opportunity available during one of the worst economic crises in recent history.\u003c/p>\n\u003cp>“You don’t let doors close on you. If you want to survive, you have to hustle,” says González, who sells masks on Alum Rock Avenue in East San José, and asked to go by only his last name. He worked as a gardener for 15 years before losing his job during the summer. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ever since I came to this country, I’ve reinvented myself many times. To survive. Not to save money, but to survive. And now, face masks help me survive in so many ways,” he says.\u003c/p>\n\u003cp>And while he does not count with a Nayib Bukele mask in his inventory, he still sells masks decorated with the face of another Latin American president, that of Andrés Manuel López Obrador, of México. Not the most popular design, he notes.\u003c/p>\n\u003cp>He takes great care in showing each mask, never removing them from the plastic wrapper. The masks up for display are not for sale. González explains that they’ve been out all day, exposed to all those that pass by. Whenever he sells, he never lets his guard down. The 95116 and 95112 zip codes that make up East San José registers the highest \u003ca href=\"https://www.sccgov.org/sites/covid19/Pages/dashboard-cases-by-zip-code-and-city.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">case rates\u003c/a> in all of Santa Clara County.\u003c/p>\n\u003cfigure id=\"attachment_13890516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Gonza%CC%81lez-at-his-booth-with-Lo%CC%81pez-Obrador-mask-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-2048x1537.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You don’t let doors close on you. If you want to survive, you have to hustle,” says San José face mask vendor González, who lost his job as a gardener during the pandemic. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over in Fruitvale, José Antonio shows the same resolve against similar odds. “I have a responsibility to my family,” he says. Fruitvale has also borne the brunt of the pandemic in Oakland.\u003c/p>\n\u003cp>One of the challenges health officials have faced in Fruitvale is making sure that COVID-19 prevention information reaches the Indigenous community, mostly composed of Mam-speaking immigrants from Guatemala. While public health information is available in both English and Spanish, there’s much less in Mam.\u003c/p>\n\u003cp>Some of the most popular designs at José Antonio’s stall are those embroidered with patterns popular in northern Guatemala, made by Indigenous artisans. “Having this design on is like wearing a small part of your tradition, but presented in a way where it now seems very normal,” he explains.\u003c/p>\n\u003cp>“Many of the people I know don’t want to be targeted when they show that they’re Indigenous,” he continues. “But when they wear a mask with these designs, no one points them out.”\u003c/p>\n\u003ch2>What Your Mask Says\u003c/h2>\n\u003cp>While some mask designs, like those emblazoned with sports teams logos, can be found in every street stand, it’s the handmade masks bearing embroidery crafted by Indigenous artisans that differ from stall to stall, from city to city. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Folks come and feel the texture that is handmade. It’s so different from what exists in stores, all that factory-made stuff,” says César Augusto, whose stand is located on Mission and 23rd in San Francisco. Earlier this year, he was forced to close his store on 24th Street, where he sold craftwork by Indigenous artisans from all over the Americas for 17 years. He and his wife transformed their business into two booths, each full with artwork, earrings, and clothing.\u003c/p>\n\u003cp>“In a way, it was a good thing that we closed. It came at the right time. And now, I can breathe a little easier because I can start again, opening a new path for my wife and I,” he explains. Augusto migrated to the U.S. from Ecuador, where he was raised by a family of artisans. Holding a face mask his family sent him, he ponders on the value this piece of fabric has in his life now.\u003c/p>\n\u003cp>“They’ve become their own type of craftwork. I never imagined this would happen,” he says. The mask he’s wearing also comes from Ecuador, embroidered with Quechua patterns. A customer passes by and asks if he’s got any masks printed with the flag of Honduras. Turns out that they just ran out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Living through the year 2020 tested us. It tried our patience and nerves. It challenged us to find new ways to communicate and socialize. It upended our priorities, pushed our resolve and—let’s be real—stressed us the eff out, daily.\u003c/p>\n\u003cp>So when we asked you, our readers, what helped you get through it all, we were surprised by the outpouring of optimism, creativity and expressions of gratitude we received.\u003c/p>\n\u003cp>Here are just some of the things that got you through this endurance test of a year.\u003c/p>\n\u003ch2>Virtual Community\u003c/h2>\n\u003cfigure id=\"attachment_13890230\" class=\"wp-caption aligncenter\" style=\"max-width: 764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png\" alt=\"Some of the magical animals of ‘In Shelter Zoo'—a project and website created by Michelle L. Morby this year, to battle the isolation of shelter in place.\" width=\"764\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM-160x102.png 160w\" sizes=\"(max-width: 764px) 100vw, 764px\">\u003cfigcaption class=\"wp-caption-text\">Some of the magical animals of ‘In Shelter Zoo’—a project and website created by Michelle L. Morby this year to battle the isolation of shelter in place. \u003ccite>(InShelterZoo.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I created a global interactive project called \u003ca href=\"https://www.inshelterzoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Shelter Zoo\u003c/em>\u003c/a> to combat isolation. All one had to do was make an animal mask out of whatever you had on hand, take a selfie and send it, and I would add it to my conceptual art zoo.” —\u003cem>Michelle L. Morby, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Sending postcards to strangers around the world.” —\u003cem>Julian Roque, Hayward\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Learning Zumba taught by a Canadian-born feminist anthropologist who is a professor at Amherst College. The classes are attended by feminist academics and artists from around the world. It’s life-affirming and shame-free with fab playlists!” —\u003cem>Jennifer Terry, Sea Ranch\u003c/em>\u003c/p>\n\u003cp>“Virtual wine tastings.” —\u003cem>Janine P., San Francisco\u003c/em>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.instagram.com/defectedrecords/\" target=\"_blank\" rel=\"noopener noreferrer\">Defected Records\u003c/a>‘ virtual dance festivals 100% have given me joy, hope, strength, community, presence, and serenity.” —\u003cem>Ruanna Rae, Bay Area\u003c/em>\u003c/p>\n\u003ch2>The Great Outdoors\u003c/h2>\n\u003cfigure id=\"attachment_13890280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg\" alt=\"Jan Richardson's dog\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiking the hills with a dog: what could be better? \u003ccite>(Jan Richardson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Faith that the next day would get better. The comfort of my dog and hiking the beautiful hills of the Bay Area.” —\u003cem>Jan Richardson, Danville\u003c/em>\u003c/p>\n\u003cp>“To combat pandemic-related anger, I’ve been taking evening dips in the bay from East Beach at Crissy Field. In up to my chest just a few yards offshore, within a few minutes I feel rejuvenated by the literal shift in perspective and cold shock.” —\u003cem>Britta Shoot, San Francisco\u003c/em>\u003c/p>\n\u003cp>“I have ongoing, non-COVID health problems that keep me close to home. So my photography hobby has been a key ingredient in keeping things together. That and our backyard, with its birds and flowers. I’ve documented the backyard thoroughly!” —\u003cem>David Evan Hughes, Lincoln\u003c/em>\u003c/p>\n\u003cp>“Rowing in the San Francisco bay.” —\u003cem>Demian Quesnel, San Francisco\u003c/em>\u003c/p>\n\u003cp>“My bike, my engineer, my financial guy, my lawyer, and my priest. We ride bikes together. Sometimes 22 miles, sometimes 52 miles, even 102.” —\u003cem>Peter Wise, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Since gyms got shut down, I started doing ’80s aerobics interspersed with weight and dance routines on our deck overlooking Linda Mar Beach. With headphones, no one can hear my music, but they can see me getting down!” —\u003cem>Nancy Capone Beeman, Pacifica\u003c/em>\u003c/p>\n\u003ch2>Artistic Expression\u003c/h2>\n\u003cfigure id=\"attachment_13890252\" class=\"wp-caption aligncenter\" style=\"max-width: 662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png\" alt=\"A selection of work from Meredith Steele's 100 paintings of Oakland.\" width=\"662\" height=\"659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png 662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM-160x159.png 160w\" sizes=\"(max-width: 662px) 100vw, 662px\">\u003cfigcaption class=\"wp-caption-text\">A selection of work from Meredith Steele’s 100 paintings of Oakland. \u003ccite>(Instagram/@meredith_steele_)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Taking on a project of painting \u003ca href=\"http://www.meredithsteele.com/oaklandpaintings\" target=\"_blank\" rel=\"noopener noreferrer\">100 paintings of Oakland\u003c/a>. It kept me focused!” —\u003cem>Meredith Steele, Oakland\u003c/em>\u003c/p>\n\u003cp>“Making art, even when it hurt.” —\u003cem>Katy Kuhn, Mill Valley\u003c/em>\u003c/p>\n\u003cp>“Stuck in lockdown, bored to tears, I decided to dress up my front yard. The circle drive is bordered by two short grape-stake fences. So I pulled out my paint pots and got to work. I painted each fence to look like a row of colored pencils.” —\u003cem>Judith Morley, Menlo Park\u003c/em>\u003c/p>\n\u003cp>“My mate and I learned a modern take on an very old art form: beading. I suggested it to her as a more zenful way to unwind from her stressful job. She was sold after seeing the modern works of people like Jan Huling, Betsy Youngquist and Nancy Joseph.” —\u003cem>Ann Morgan, Oakland\u003c/em>\u003c/p>\n\u003cp>“I set out to photograph every mural on a boarded up business that I could. Inspired me, gave me hope, cleared my head and helped keep me grounded and sane. \u003ca href=\"https://www.instagram.com/plywoodmurals/\" target=\"_blank\" rel=\"noopener noreferrer\">Check them out\u003c/a>!” —\u003cem>Hildur Carlen, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Walking the streets of Oakland with my young son, taking in all the urban visual information, which led to five new artwork series. So far I’ve posted 45 of these works on paper on \u003ca href=\"https://ivettevallejo.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">my website\u003c/a>.” —\u003cem>Ivette, Vallejo\u003c/em>\u003c/p>\n\u003ch2>Musical Exploration\u003c/h2>\n\u003cfigure id=\"attachment_13890281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg\" alt=\"Matthew Levitt's record collection\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When in doubt, buy more records. 😉 \u003ccite>(Matthew Levitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found a lot of comfort listening to my records. I bought some irresponsibly expensive headphones and practically doubled my record collection. I listen to a few albums almost every day.” —\u003cem>Matthew Levitt, Alameda\u003c/em>\u003c/p>\n\u003cp>“Listening to the radio! You can be part of a community, while in your home or car.” —\u003cem>Barrett Jayne, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“Learning how to play drums and starting a punk band.” —\u003cem>Meerenai Shim, Campbell\u003c/em>\u003c/p>\n\u003cp>“I started a new label with my best friend of 15 years and put out an album in April. I worked on three albums and one is coming out in January. I discovered I have Aspergers, smashed petty beefs, and worked on my house.” —\u003cem>Muslim Delgado, Oakland\u003c/em>\u003c/p>\n\u003cp>“I have survived this year by listening to a lot of calming music, taking daily brisk walks where there aren’t a lot of people, following the science around COVID, helping my candidates get elected, and texting a lot with friends and family.” —\u003cem>Carol Akawie Schneider, Oakland\u003c/em>\u003c/p>\n\u003ch2>Family Time\u003c/h2>\n\u003cfigure id=\"attachment_13890282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/kittens-800x600.jpeg\" alt=\"Kittens fresh from the good people at the Sonoma County Humane Society.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kittens fresh from the good people at the Sonoma County Humane Society. \u003ccite>(Meghan West)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Kittens! After miniaturizing our April wedding, then moving, my husband and I got two kittens from the local Humane Society. They are such a delight and make us smile so many times each day.” —\u003cem>Meghan West, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“The most important thing that got me through 2020 was being in a bubble with my daughter, her partner and my three grandkids. Seeing them almost every day and sharing our ‘buds and thorns’ about our day kept me sane.” —\u003cem>Aggie Briscoe, Oakland\u003c/em>\u003c/p>\n\u003cp>“I recorded E.B. White books for my grandson. With the uncertainty of each day, it was sweet to enter White’s gentle world of curious and collaborating animals, and share it with a special child.” —\u003cem>Susan Giacomini Allan, Inverness\u003c/em>\u003c/p>\n\u003cp>“Daily walks with my dogs, and my husband’s cooking.” —\u003cem>Barbara Thomson, Nicasio\u003c/em>\u003c/p>\n\u003cp>“My neighbors and my daughter in SF. They did my grocery shopping and errands to keep my exposure (at age 90) to COVID-19 to a minimum. Good folks!” —\u003cem>Alison C. Fuller, San Rafael\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“What got me through 2020 so far is our grandson who lives in London and was only four months old when COVID got worse. Our daughter continuously sent us photos, videos and we Facetimed at least 4-5 times a week. Watching him grow kept us going.” —\u003cem>Neelima Pandit, Santa Rosa\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Living through the year 2020 tested us. It tried our patience and nerves. It challenged us to find new ways to communicate and socialize. It upended our priorities, pushed our resolve and—let’s be real—stressed us the eff out, daily.\u003c/p>\n\u003cp>So when we asked you, our readers, what helped you get through it all, we were surprised by the outpouring of optimism, creativity and expressions of gratitude we received.\u003c/p>\n\u003cp>Here are just some of the things that got you through this endurance test of a year.\u003c/p>\n\u003ch2>Virtual Community\u003c/h2>\n\u003cfigure id=\"attachment_13890230\" class=\"wp-caption aligncenter\" style=\"max-width: 764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png\" alt=\"Some of the magical animals of ‘In Shelter Zoo'—a project and website created by Michelle L. Morby this year, to battle the isolation of shelter in place.\" width=\"764\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM-160x102.png 160w\" sizes=\"(max-width: 764px) 100vw, 764px\">\u003cfigcaption class=\"wp-caption-text\">Some of the magical animals of ‘In Shelter Zoo’—a project and website created by Michelle L. Morby this year to battle the isolation of shelter in place. \u003ccite>(InShelterZoo.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I created a global interactive project called \u003ca href=\"https://www.inshelterzoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Shelter Zoo\u003c/em>\u003c/a> to combat isolation. All one had to do was make an animal mask out of whatever you had on hand, take a selfie and send it, and I would add it to my conceptual art zoo.” —\u003cem>Michelle L. Morby, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Sending postcards to strangers around the world.” —\u003cem>Julian Roque, Hayward\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Learning Zumba taught by a Canadian-born feminist anthropologist who is a professor at Amherst College. The classes are attended by feminist academics and artists from around the world. It’s life-affirming and shame-free with fab playlists!” —\u003cem>Jennifer Terry, Sea Ranch\u003c/em>\u003c/p>\n\u003cp>“Virtual wine tastings.” —\u003cem>Janine P., San Francisco\u003c/em>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.instagram.com/defectedrecords/\" target=\"_blank\" rel=\"noopener noreferrer\">Defected Records\u003c/a>‘ virtual dance festivals 100% have given me joy, hope, strength, community, presence, and serenity.” —\u003cem>Ruanna Rae, Bay Area\u003c/em>\u003c/p>\n\u003ch2>The Great Outdoors\u003c/h2>\n\u003cfigure id=\"attachment_13890280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg\" alt=\"Jan Richardson's dog\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiking the hills with a dog: what could be better? \u003ccite>(Jan Richardson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Faith that the next day would get better. The comfort of my dog and hiking the beautiful hills of the Bay Area.” —\u003cem>Jan Richardson, Danville\u003c/em>\u003c/p>\n\u003cp>“To combat pandemic-related anger, I’ve been taking evening dips in the bay from East Beach at Crissy Field. In up to my chest just a few yards offshore, within a few minutes I feel rejuvenated by the literal shift in perspective and cold shock.” —\u003cem>Britta Shoot, San Francisco\u003c/em>\u003c/p>\n\u003cp>“I have ongoing, non-COVID health problems that keep me close to home. So my photography hobby has been a key ingredient in keeping things together. That and our backyard, with its birds and flowers. I’ve documented the backyard thoroughly!” —\u003cem>David Evan Hughes, Lincoln\u003c/em>\u003c/p>\n\u003cp>“Rowing in the San Francisco bay.” —\u003cem>Demian Quesnel, San Francisco\u003c/em>\u003c/p>\n\u003cp>“My bike, my engineer, my financial guy, my lawyer, and my priest. We ride bikes together. Sometimes 22 miles, sometimes 52 miles, even 102.” —\u003cem>Peter Wise, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Since gyms got shut down, I started doing ’80s aerobics interspersed with weight and dance routines on our deck overlooking Linda Mar Beach. With headphones, no one can hear my music, but they can see me getting down!” —\u003cem>Nancy Capone Beeman, Pacifica\u003c/em>\u003c/p>\n\u003ch2>Artistic Expression\u003c/h2>\n\u003cfigure id=\"attachment_13890252\" class=\"wp-caption aligncenter\" style=\"max-width: 662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png\" alt=\"A selection of work from Meredith Steele's 100 paintings of Oakland.\" width=\"662\" height=\"659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png 662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM-160x159.png 160w\" sizes=\"(max-width: 662px) 100vw, 662px\">\u003cfigcaption class=\"wp-caption-text\">A selection of work from Meredith Steele’s 100 paintings of Oakland. \u003ccite>(Instagram/@meredith_steele_)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Taking on a project of painting \u003ca href=\"http://www.meredithsteele.com/oaklandpaintings\" target=\"_blank\" rel=\"noopener noreferrer\">100 paintings of Oakland\u003c/a>. It kept me focused!” —\u003cem>Meredith Steele, Oakland\u003c/em>\u003c/p>\n\u003cp>“Making art, even when it hurt.” —\u003cem>Katy Kuhn, Mill Valley\u003c/em>\u003c/p>\n\u003cp>“Stuck in lockdown, bored to tears, I decided to dress up my front yard. The circle drive is bordered by two short grape-stake fences. So I pulled out my paint pots and got to work. I painted each fence to look like a row of colored pencils.” —\u003cem>Judith Morley, Menlo Park\u003c/em>\u003c/p>\n\u003cp>“My mate and I learned a modern take on an very old art form: beading. I suggested it to her as a more zenful way to unwind from her stressful job. She was sold after seeing the modern works of people like Jan Huling, Betsy Youngquist and Nancy Joseph.” —\u003cem>Ann Morgan, Oakland\u003c/em>\u003c/p>\n\u003cp>“I set out to photograph every mural on a boarded up business that I could. Inspired me, gave me hope, cleared my head and helped keep me grounded and sane. \u003ca href=\"https://www.instagram.com/plywoodmurals/\" target=\"_blank\" rel=\"noopener noreferrer\">Check them out\u003c/a>!” —\u003cem>Hildur Carlen, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Walking the streets of Oakland with my young son, taking in all the urban visual information, which led to five new artwork series. So far I’ve posted 45 of these works on paper on \u003ca href=\"https://ivettevallejo.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">my website\u003c/a>.” —\u003cem>Ivette, Vallejo\u003c/em>\u003c/p>\n\u003ch2>Musical Exploration\u003c/h2>\n\u003cfigure id=\"attachment_13890281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg\" alt=\"Matthew Levitt's record collection\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When in doubt, buy more records. 😉 \u003ccite>(Matthew Levitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found a lot of comfort listening to my records. I bought some irresponsibly expensive headphones and practically doubled my record collection. I listen to a few albums almost every day.” —\u003cem>Matthew Levitt, Alameda\u003c/em>\u003c/p>\n\u003cp>“Listening to the radio! You can be part of a community, while in your home or car.” —\u003cem>Barrett Jayne, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“Learning how to play drums and starting a punk band.” —\u003cem>Meerenai Shim, Campbell\u003c/em>\u003c/p>\n\u003cp>“I started a new label with my best friend of 15 years and put out an album in April. I worked on three albums and one is coming out in January. I discovered I have Aspergers, smashed petty beefs, and worked on my house.” —\u003cem>Muslim Delgado, Oakland\u003c/em>\u003c/p>\n\u003cp>“I have survived this year by listening to a lot of calming music, taking daily brisk walks where there aren’t a lot of people, following the science around COVID, helping my candidates get elected, and texting a lot with friends and family.” —\u003cem>Carol Akawie Schneider, Oakland\u003c/em>\u003c/p>\n\u003ch2>Family Time\u003c/h2>\n\u003cfigure id=\"attachment_13890282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/kittens-800x600.jpeg\" alt=\"Kittens fresh from the good people at the Sonoma County Humane Society.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kittens fresh from the good people at the Sonoma County Humane Society. \u003ccite>(Meghan West)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Kittens! After miniaturizing our April wedding, then moving, my husband and I got two kittens from the local Humane Society. They are such a delight and make us smile so many times each day.” —\u003cem>Meghan West, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“The most important thing that got me through 2020 was being in a bubble with my daughter, her partner and my three grandkids. Seeing them almost every day and sharing our ‘buds and thorns’ about our day kept me sane.” —\u003cem>Aggie Briscoe, Oakland\u003c/em>\u003c/p>\n\u003cp>“I recorded E.B. White books for my grandson. With the uncertainty of each day, it was sweet to enter White’s gentle world of curious and collaborating animals, and share it with a special child.” —\u003cem>Susan Giacomini Allan, Inverness\u003c/em>\u003c/p>\n\u003cp>“Daily walks with my dogs, and my husband’s cooking.” —\u003cem>Barbara Thomson, Nicasio\u003c/em>\u003c/p>\n\u003cp>“My neighbors and my daughter in SF. They did my grocery shopping and errands to keep my exposure (at age 90) to COVID-19 to a minimum. Good folks!” —\u003cem>Alison C. Fuller, San Rafael\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What got me through 2020 so far is our grandson who lives in London and was only four months old when COVID got worse. Our daughter continuously sent us photos, videos and we Facetimed at least 4-5 times a week. Watching him grow kept us going.” —\u003cem>Neelima Pandit, Santa Rosa\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help",
"headTitle": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED",
"content": "\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>[pullquote size='large']Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.[/pullquote]\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. [aside postid='arts_13890048']\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n",
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"excerpt": "Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ",
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"description": "Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ",
"title": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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