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"title": "Music Venues Still Waiting for Funding Three Months After Save Our Stages Act",
"headTitle": "Music Venues Still Waiting for Funding Three Months After Save Our Stages Act | KQED",
"content": "\u003cp>\u003cstrong>Update, April 19:\u003c/strong> The Shuttered Venue Operators Grant hit another delay after the Small Business Administration’s application portal crashed. \u003ca href=\"https://www.kqed.org/arts/13895993/save-our-stages-svog-delayed-music-venues-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, Mar. 19: \u003c/strong>The Small Business Administration announced that applications for the Shuttered Venue Operators Grant will open on April 8. The agency is also hosting an informational webinar for applicants on March 30. Details \u003ca href=\"https://www.sba.gov/article/2021/mar/19/sba-launches-portal-begin-accepting-shuttered-venue-operators-grant-applications-april-8\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>A year into the pandemic, the independent music venues that haven’t gone out of business are hanging on by a thread. Or more accurately, they’re taking on hundreds of thousands of dollars in debt to pay for empty buildings, holding on until enough people are vaccinated to resume concerts.\u003c/p>\n\u003cp>The Save Our Stages Act promised much-needed relief when Congress passed it in December. Its resulting \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> (SVOG) would give music venues funding in the form of grants equal to 45% of their 2019 revenue. But three months later, the Small Business Administration still hasn’t opened applications for the money, and venue owners find themselves in increasingly dire financial straits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve had to find a bunch of money that we’ll have to pay [off] probably for the rest of our lives,” says Rob Ready, co-owner of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> and an organizer with the San Francisco Venue Coalition. “We’re racking up a mountain of debt. … I’m 36 now and I’m hoping to retire sometime when I’m 90.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfvenuecoalition.com/members/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a>, whose members include major players like Outside Lands producer Another Planet Entertainment and small, scrappy clubs like Bottom of the Hill, estimates that the average local venue’s monthly expenses can be anywhere between $18,000–$35,000. [aside postid='arts_13894172']\u003c/p>\n\u003cp>“The reason you haven’t seen a raft of venues shutter is because we’ve all taken on debt and continue to do so,” Ready adds.\u003c/p>\n\u003cp>The Small Business Administration told KQED in an email that \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">applications\u003c/a> for SVOG will likely open in early April. During the first two weeks, it will prioritize venues that have lost 90% of their revenue since the start of the pandemic. But it’s unclear how long after that the funding will actually arrive.\u003c/p>\n\u003cp>“I’m not holding my breath. … By the time we might get some money, we might be open,” says Oscar Edwards, owner of \u003ca href=\"https://complexoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Complex\u003c/a>, who has been able to keep his downtown Oakland nightclub thanks to his Trap Kitchen restaurant and a modified rent agreement with his landlord. Many of his peers in Oakland nightlife, including Starline Social Club, Stork Club, the Uptown and Spirithaus, have permanently closed.\u003c/p>\n\u003cp>Casey Lowdermilk, another San Francisco Venue Coalition organizer and the assistant general manager of Bill Graham Civic Auditorium, explains that there are several reasons for the SBA’s delay. “They’re in the middle of a transition with administrations, so that’s some hangup. They’re also traditionally a lending program and this is a grant program,” he says. “And our industry has never gone to the table before, so they don’t generally understand our industry. We’re educating them.” [aside postid='arts_13893952']\u003c/p>\n\u003cp>In the meantime, venue owners are now eligible for the second round of \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/paycheck-protection-program/second-draw-ppp-loans\" target=\"_blank\" rel=\"noopener noreferrer\">Paycheck Protection Program loans\u003c/a> to help keep their staff. But to cover general operating costs, they’ve had to seek other means of support. Oasis, a destination for concerts, LGBTQ+ parties and drag nights in San Francisco, recently \u003ca href=\"https://givebutter.com/saveoasis\" target=\"_blank\" rel=\"noopener noreferrer\">raised over $270,000\u003c/a> to keep its doors open. “It goes to show you how much these venues are hurting, and how important they are to the community,” Ready says.\u003c/p>\n\u003ch2>City Programs Offer Some Relief, But More Help Needed at State Level\u003c/h2>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">KQED reported\u003c/a> about the state of emergency for music venues in December, San Francisco Supervisor Matt Haney created the \u003ca href=\"https://www.kqed.org/arts/13892620/san-franciscos-music-and-entertainment-venue-recovery-fund-is-now-official\" target=\"_blank\" rel=\"noopener noreferrer\">Music and Entertainment Venue Recovery Fund\u003c/a>, which the Board of Supervisors formalized in February. But the $3 million fund also hasn’t yet been distributed. And the San Francisco Venue Coalition estimates that at least $48 million is needed to meet the nightlife industry’s actual needs.\u003c/p>\n\u003cp>Along with sister organization \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, the organizers have been in talks with major corporate and individual donors to bolster the fund, which is now accepting \u003ca href=\"https://sfosb.org/venuefund\" target=\"_blank\" rel=\"noopener noreferrer\">donations from the public\u003c/a>. Organizers are working closely with the city, and hope the funds will become available in April.\u003c/p>\n\u003cp>Mayor London Breed’s office offered some support with 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 allows for live music and performances in outdoor dining areas and other Shared Spaces. But few music venues have used it because it requires them to serve food and to have space for outdoor seating.\u003c/p>\n\u003cp>The Chapel, which has a parking lot and a kitchen, is one of the only venues that has been able to set up ticketed, outdoor shows with dinner service. And even then, “those shows essentially just lose money because the attendance is too small due to the social distancing,” says Fred Barnes, the club’s general manager and co-founder of the Independent Venue Alliance. “But we’re sort of doing it to keep the flame going. It means a lot for people, musicians and the whole community.”\u003c/p>\n\u003cfigure id=\"attachment_13894208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/20210225_213244-800x450.jpg\" alt=\"Colorful projects cover a wall while a band plays on an outdoor stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz performs an outdoor show outside of The Chapel, one of the few venues that has been able to use San Francisco’s JAM Permit. \u003ccite>(Dave Pehling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://covid19.ca.gov/industry-guidance/\" target=\"_blank\" rel=\"noopener noreferrer\">California’s reopening guidelines\u003c/a> will allow for seated, outdoor performances at 20% capacity when the state reaches the orange tier, signifying moderate COVID-19 risk. (Currently, most counties are in red or purple, signifying substantial or widespread risk.) But some events presenters don’t believe that’s sufficient: the \u003ca href=\"https://www.sfiaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International Arts Festival\u003c/a> is currently in a court battle with the state and city, arguing that performing arts events should be treated the same way as religious services and other First Amendment-protected activities. Worship services are allowed with limited capacity even in the purple tier. [aside postid='arts_13893812']\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association (NIVA)\u003c/a>, which led the Save Our Stages campaign in Congress, is now focused on working with the state of California as well. About 10% of NIVA members are from the Golden State, says The UC Theatre CEO and NIVA organizer David Mayeri, and they’ll need significant support to start operations back up, even after federal funding comes in from the Save Our Stages Act. “SVOG is helping us pay our bills retroactively. But it’s not getting us reopened,” Mayeri says. “The operating cost to reopen the venues is very expensive. To make it COVID-safe is expensive. To start marketing to build consumer confidence to come back and buy tickets—we need additional help for that. We need subsidies.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.theuctheatre.org/outfront/\" target=\"_blank\" rel=\"noopener noreferrer\">The UC Theatre\u003c/a> has been serving food outside of its downtown Berkeley concert hall, with live jazz and funk on Fridays and Saturdays. And Mayeri and many of his venue owner peers believe that once the vaccine becomes available to all adults on May 1, as the Biden administration has pledged, venues should be able to begin selling tickets 30 days after that. Live music is a major economic driver, industry leaders have repeatedly argued, and concerts reopening will be a boon to the entire state.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That’s what we need to get the governor to understand,” Mayeri says. “Funding music venues in California and helping subsidize their operating costs so we can reopen is important to the economy—not just the music venues alone.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, April 19:\u003c/strong> The Shuttered Venue Operators Grant hit another delay after the Small Business Administration’s application portal crashed. \u003ca href=\"https://www.kqed.org/arts/13895993/save-our-stages-svog-delayed-music-venues-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, Mar. 19: \u003c/strong>The Small Business Administration announced that applications for the Shuttered Venue Operators Grant will open on April 8. The agency is also hosting an informational webinar for applicants on March 30. Details \u003ca href=\"https://www.sba.gov/article/2021/mar/19/sba-launches-portal-begin-accepting-shuttered-venue-operators-grant-applications-april-8\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>A year into the pandemic, the independent music venues that haven’t gone out of business are hanging on by a thread. Or more accurately, they’re taking on hundreds of thousands of dollars in debt to pay for empty buildings, holding on until enough people are vaccinated to resume concerts.\u003c/p>\n\u003cp>The Save Our Stages Act promised much-needed relief when Congress passed it in December. Its resulting \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> (SVOG) would give music venues funding in the form of grants equal to 45% of their 2019 revenue. But three months later, the Small Business Administration still hasn’t opened applications for the money, and venue owners find themselves in increasingly dire financial straits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve had to find a bunch of money that we’ll have to pay [off] probably for the rest of our lives,” says Rob Ready, co-owner of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> and an organizer with the San Francisco Venue Coalition. “We’re racking up a mountain of debt. … I’m 36 now and I’m hoping to retire sometime when I’m 90.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfvenuecoalition.com/members/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a>, whose members include major players like Outside Lands producer Another Planet Entertainment and small, scrappy clubs like Bottom of the Hill, estimates that the average local venue’s monthly expenses can be anywhere between $18,000–$35,000. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The reason you haven’t seen a raft of venues shutter is because we’ve all taken on debt and continue to do so,” Ready adds.\u003c/p>\n\u003cp>The Small Business Administration told KQED in an email that \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">applications\u003c/a> for SVOG will likely open in early April. During the first two weeks, it will prioritize venues that have lost 90% of their revenue since the start of the pandemic. But it’s unclear how long after that the funding will actually arrive.\u003c/p>\n\u003cp>“I’m not holding my breath. … By the time we might get some money, we might be open,” says Oscar Edwards, owner of \u003ca href=\"https://complexoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Complex\u003c/a>, who has been able to keep his downtown Oakland nightclub thanks to his Trap Kitchen restaurant and a modified rent agreement with his landlord. Many of his peers in Oakland nightlife, including Starline Social Club, Stork Club, the Uptown and Spirithaus, have permanently closed.\u003c/p>\n\u003cp>Casey Lowdermilk, another San Francisco Venue Coalition organizer and the assistant general manager of Bill Graham Civic Auditorium, explains that there are several reasons for the SBA’s delay. “They’re in the middle of a transition with administrations, so that’s some hangup. They’re also traditionally a lending program and this is a grant program,” he says. “And our industry has never gone to the table before, so they don’t generally understand our industry. We’re educating them.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, venue owners are now eligible for the second round of \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/paycheck-protection-program/second-draw-ppp-loans\" target=\"_blank\" rel=\"noopener noreferrer\">Paycheck Protection Program loans\u003c/a> to help keep their staff. But to cover general operating costs, they’ve had to seek other means of support. Oasis, a destination for concerts, LGBTQ+ parties and drag nights in San Francisco, recently \u003ca href=\"https://givebutter.com/saveoasis\" target=\"_blank\" rel=\"noopener noreferrer\">raised over $270,000\u003c/a> to keep its doors open. “It goes to show you how much these venues are hurting, and how important they are to the community,” Ready says.\u003c/p>\n\u003ch2>City Programs Offer Some Relief, But More Help Needed at State Level\u003c/h2>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">KQED reported\u003c/a> about the state of emergency for music venues in December, San Francisco Supervisor Matt Haney created the \u003ca href=\"https://www.kqed.org/arts/13892620/san-franciscos-music-and-entertainment-venue-recovery-fund-is-now-official\" target=\"_blank\" rel=\"noopener noreferrer\">Music and Entertainment Venue Recovery Fund\u003c/a>, which the Board of Supervisors formalized in February. But the $3 million fund also hasn’t yet been distributed. And the San Francisco Venue Coalition estimates that at least $48 million is needed to meet the nightlife industry’s actual needs.\u003c/p>\n\u003cp>Along with sister organization \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, the organizers have been in talks with major corporate and individual donors to bolster the fund, which is now accepting \u003ca href=\"https://sfosb.org/venuefund\" target=\"_blank\" rel=\"noopener noreferrer\">donations from the public\u003c/a>. Organizers are working closely with the city, and hope the funds will become available in April.\u003c/p>\n\u003cp>Mayor London Breed’s office offered some support with 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 allows for live music and performances in outdoor dining areas and other Shared Spaces. But few music venues have used it because it requires them to serve food and to have space for outdoor seating.\u003c/p>\n\u003cp>The Chapel, which has a parking lot and a kitchen, is one of the only venues that has been able to set up ticketed, outdoor shows with dinner service. And even then, “those shows essentially just lose money because the attendance is too small due to the social distancing,” says Fred Barnes, the club’s general manager and co-founder of the Independent Venue Alliance. “But we’re sort of doing it to keep the flame going. It means a lot for people, musicians and the whole community.”\u003c/p>\n\u003cfigure id=\"attachment_13894208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/20210225_213244-800x450.jpg\" alt=\"Colorful projects cover a wall while a band plays on an outdoor stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz performs an outdoor show outside of The Chapel, one of the few venues that has been able to use San Francisco’s JAM Permit. \u003ccite>(Dave Pehling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://covid19.ca.gov/industry-guidance/\" target=\"_blank\" rel=\"noopener noreferrer\">California’s reopening guidelines\u003c/a> will allow for seated, outdoor performances at 20% capacity when the state reaches the orange tier, signifying moderate COVID-19 risk. (Currently, most counties are in red or purple, signifying substantial or widespread risk.) But some events presenters don’t believe that’s sufficient: the \u003ca href=\"https://www.sfiaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International Arts Festival\u003c/a> is currently in a court battle with the state and city, arguing that performing arts events should be treated the same way as religious services and other First Amendment-protected activities. Worship services are allowed with limited capacity even in the purple tier. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association (NIVA)\u003c/a>, which led the Save Our Stages campaign in Congress, is now focused on working with the state of California as well. About 10% of NIVA members are from the Golden State, says The UC Theatre CEO and NIVA organizer David Mayeri, and they’ll need significant support to start operations back up, even after federal funding comes in from the Save Our Stages Act. “SVOG is helping us pay our bills retroactively. But it’s not getting us reopened,” Mayeri says. “The operating cost to reopen the venues is very expensive. To make it COVID-safe is expensive. To start marketing to build consumer confidence to come back and buy tickets—we need additional help for that. We need subsidies.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.theuctheatre.org/outfront/\" target=\"_blank\" rel=\"noopener noreferrer\">The UC Theatre\u003c/a> has been serving food outside of its downtown Berkeley concert hall, with live jazz and funk on Fridays and Saturdays. And Mayeri and many of his venue owner peers believe that once the vaccine becomes available to all adults on May 1, as the Biden administration has pledged, venues should be able to begin selling tickets 30 days after that. Live music is a major economic driver, industry leaders have repeatedly argued, and concerts reopening will be a boon to the entire state.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s what we need to get the governor to understand,” Mayeri says. “Funding music venues in California and helping subsidize their operating costs so we can reopen is important to the economy—not just the music venues alone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After over a year without festivals or concerts, music lovers may have something to look forward to this fall. The iconic \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> festival, which typically takes place in San Francisco’s Golden Gate Park every August, has moved to Halloween weekend in the hopes that a later date will allow for greater safety and a more widely vaccinated audience.\u003c/p>\n\u003cp>“The shift in dates allows us to work collectively to determine any new safety measures necessary to implement during the festival weekend,” said festival co-producer Allen Scott. “We ask fans to use this time before the festival to continue exercising common sense COVID safety practices and we look forward to being together again soon.” Current ticket holders who are unable to attend the new dates can request refunds until Apr. 15.\u003c/p>\n\u003cp>This year’s star-studded lineup includes a few Bay Area artists, like Oakland’s Kehlani and San Francisco’s 24kGolden, in addition to huge names like Lizzo, Tame Impala, The Strokes, Young Thug and Tyler, the Creator. Recent double Grammy winner Kaytranada and female rap sensations Flo Milli and Rico Nasty are set to perform as well.\u003c/p>\n\u003cp>Outside Lands is one of the first major music festivals to announce a post-COVID return, and may set a precedent for others to do the same. The pandemic was particularly hard on the \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">live music industry\u003c/a>, and while many venues had to permanently close their doors, concert-goers are eager to return, and the future of live music seems bright.\u003c/p>\n\u003cp>While individual passes are not yet for sale, three-day passes are currently available on the \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> website. The festival will take place Oct. 29-31.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After over a year without festivals or concerts, music lovers may have something to look forward to this fall. The iconic \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> festival, which typically takes place in San Francisco’s Golden Gate Park every August, has moved to Halloween weekend in the hopes that a later date will allow for greater safety and a more widely vaccinated audience.\u003c/p>\n\u003cp>“The shift in dates allows us to work collectively to determine any new safety measures necessary to implement during the festival weekend,” said festival co-producer Allen Scott. “We ask fans to use this time before the festival to continue exercising common sense COVID safety practices and we look forward to being together again soon.” Current ticket holders who are unable to attend the new dates can request refunds until Apr. 15.\u003c/p>\n\u003cp>This year’s star-studded lineup includes a few Bay Area artists, like Oakland’s Kehlani and San Francisco’s 24kGolden, in addition to huge names like Lizzo, Tame Impala, The Strokes, Young Thug and Tyler, the Creator. Recent double Grammy winner Kaytranada and female rap sensations Flo Milli and Rico Nasty are set to perform as well.\u003c/p>\n\u003cp>Outside Lands is one of the first major music festivals to announce a post-COVID return, and may set a precedent for others to do the same. The pandemic was particularly hard on the \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">live music industry\u003c/a>, and while many venues had to permanently close their doors, concert-goers are eager to return, and the future of live music seems bright.\u003c/p>\n\u003cp>While individual passes are not yet for sale, three-day passes are currently available on the \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> website. The festival will take place Oct. 29-31.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How the Pandemic May Impact Bay Area Performing Arts for Years to Come",
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"content": "\u003cp>A few weeks ago—for the first time in an entire year—I went to see a piece of live theater.\u003c/p>\n\u003cp>As befits these times, \u003ca href=\"https://oaklandtheaterproject.org/binding-ties\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Theater Project\u003c/a>’s latest production, \u003cem>Binding Ties: The 16th Street Station,\u003c/em> was a drive-in experience. It took place in the parking lot outside the historic railroad terminus in West Oakland mentioned in the show’s title. It used the setting as the backdrop for a story about the Black and immigrant Oaklanders who once worked on the railroad.\u003c/p>\n\u003cp>We all sat in our cars, peering through our windshields, as the voice of actor William Oliver III was piped in through our radios.\u003c/p>\n\u003cp>“Oakland is some kind of town, ain’t it?” enthused Oliver, launching into his lines in the guise of a railroad worker with uniform and cap. The audience of cars honked back at him in response.\u003c/p>\n\u003cp>Drive-in shows. Online fundraisers. Rehearsals via Zoom. Welcome to the new reality of producing art in the Bay Area a year into COVID-19. The pandemic has been grueling—as well as transformative—for the local arts community. And now its constituents are using what they’ve learned over the past 12 months to help navigate the road ahead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland Theater Project, for one, has planned its entire new season around the drive-in experience.\u003c/p>\n\u003cp>“This is something we could ask people to come to and still feel like we’re keeping them safe,” says Oakland Theater Project co-artistic director William Thomas Hodgson.\u003c/p>\n\u003cp>Hodgson wants to get audiences out of their cars and into the theater again. But there are some aspects to producing shows in a pandemic that he hopes will stick around—like paying actors a fairer wage.\u003c/p>\n\u003cp>He says his company has been able to up its pay by 50% over last year. That’s possible in a season like this one, where the maximum cast size is five. But this community-oriented company is known for producing shows with much bigger forces.\u003c/p>\n\u003cp>“We’re committed to this. We’re gonna do it,” Hodgson says. “But our mainstay at Oakland Theater Project has been these large cast productions. I don’t know what that looks like in the future.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Opera San José Presents: Wagner's The Flying Dutchman\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/gylTi_haPE0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Similarly to Oakland Theater Project, \u003ca href=\"https://www.operasj.org/?gclid=Cj0KCQiA-aGCBhCwARIsAHDl5x-BWCh9gw6WSala3s5O5jzxt7xQrCNo9z5g5BKRV6pKrUrDkO-soQ0aAgqoEALw_wcB\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a> also hopes one day to return to big productions, like its staging of \u003cem>The Flying Dutchman\u003c/em> from 2018, which featured an orchestra, chorus and soloists and required several hours of the audience’s attention.\u003c/p>\n\u003cp>But the pandemic has inspired Opera San Jose to lean into producing one-act and chamber works with small casts and shorter timeframes going forward. One recent example is the company’s video-streamed take on \u003cem>Three Decembers\u003c/em>, a 90-minute-long chamber opera with a trio of performers and piano accompaniment.\u003c/p>\n\u003cp>“Shorter evenings reduce risk and help patrons feel more comfortable,” says Opera San Jose general director Khori Dastoor. “They make a lot of sense to welcome new audiences.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"The Making of THREE DECEMBERS\"' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uTIVoS4o7R8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dastoor is investing heavily in digital tools and training, including offering video content translated into Spanish and Vietnamese. She says her audience is expanding as a result of these efforts, with several thousand new households tuning in this past year versus around several hundred in previous years, both locally and from places as far flung as Germany and Japan.\u003c/p>\n\u003cp>She says her donor base is holding, but she recognizes some traditional opera lovers might not be on board with the digital revolution.\u003c/p>\n\u003cp>“My anxiety and concern is how long it takes for us to get to a model where the people we’ve lost because of our pivot are offset by the new people that are engaging with us for the first time,” Dastoor says.\u003c/p>\n\u003cp>The bicoastal contemporary dance company \u003ca href=\"https://rawdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">RAWdance\u003c/a> (based in San Francisco and Hudson Valley, New York) has also been able to reach new audiences with virtual content during the pandemic. In January, the group presented the video world premiere of \u003cem>The Healer,\u003c/em> a work for four dancers in flowing, pleated skirts inspired in part by the COVID-19 pandemic. The piece explores humans’ ability to overcome physical and emotional suffering through the theme of traditional Chinese medicine and holistic practices.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Trailer: \"The Healer\" (2021)' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/aAMtkWTocgk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>RAWdance co-artistic director Katerina Wong says her company has been working hard to adapt a three-dimensional art form to the two-dimensional screen.\u003c/p>\n\u003cp>“How do we still create that sense of connection and intimacy and communication, when so many of us are sitting and watching lots of Netflix or on back to back Zoom calls? It’s really hard to cut through that,” Wong says.\u003c/p>\n\u003cp>Wong says producing high quality video is expensive, especially for small dance companies like hers, but it’s something she plans to pursue even after the pandemic is over. A major financial challenge her company faces is figuring out how to expand access to the art form without sacrificing the quality of live performances when they return.\u003c/p>\n\u003cp>RAWdance relies on donations and grants for survival, including funding from the City of San Francisco. Wong and fellow co-directors Wendy Rein and Ryan T. Smith want to see more government support.\u003c/p>\n\u003cp>“What feels so essential, being located in these cities, is that it’s the signaling of the significance of artists in the community to be culture bearers and culture makers,” Wong says. “And I hope that that can be acknowledged by funding support.”\u003c/p>\n\u003cp>San Francisco Mayor London Breed just announced a proposal to provide $17 million in one-time support to local arts groups. The city’s board of supervisors is expected to discuss the proposal on Mar. 17. But one of the main sources of arts funding, the hotel tax, is down by nearly 90% since last year, and arts groups are worried about making it through.\u003c/p>\n\u003cp>“The short term prognosis is not good,” says San Francisco-based indie band manager \u003ca href=\"https://en.wikipedia.org/wiki/Jordan_Kurland\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Kurland\u003c/a>. He \u003ca href=\"https://brilliantcorners.com/\" target=\"_blank\" rel=\"noopener noreferrer\">represents\u003c/a> groups like \u003ca href=\"https://brilliantcorners.com/#/death-cab-for-cutie/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Cab for Cutie\u003c/a>, \u003ca href=\"https://brilliantcorners.com/#/the-new-pornographers/\" target=\"_blank\" rel=\"noopener noreferrer\">The New Pornographers\u003c/a> and the Bay Area’s own \u003ca href=\"https://brilliantcorners.com/#/toro-y-moi/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>Kurland also sits on the boards of several local arts nonprofits including \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Lab\u003c/a> and the \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, and says the Bay Area community isn’t just desperate for \u003cem>local\u003c/em> government support. They’re also waiting for \u003cem>federal\u003c/em> aid to materialize from the so-called \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Save our Stages Act\u003c/a>, a $15 billion aid package signed into law last December.\u003c/p>\n\u003cp>“That is going to provide some relief,” Kurland says. “But the application process has not begun.”\u003c/p>\n\u003cp>Yet the resilience and creativity he’s seeing across the Bay Area arts community gives Kurland reason for hope. For starters rents have been dropping in the Bay Area. And, he says, as the Bay Area becomes more affordable, the local arts community will bounce back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think there’s opportunity right now,” Kurland says. “I think that is a silver lining from the pandemic.”\u003c/p>\n\n",
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"excerpt": "The pandemic has been grueling and also transformative. Now artists are using the lessons of the past year to help navigate the road ahead.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago—for the first time in an entire year—I went to see a piece of live theater.\u003c/p>\n\u003cp>As befits these times, \u003ca href=\"https://oaklandtheaterproject.org/binding-ties\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Theater Project\u003c/a>’s latest production, \u003cem>Binding Ties: The 16th Street Station,\u003c/em> was a drive-in experience. It took place in the parking lot outside the historic railroad terminus in West Oakland mentioned in the show’s title. It used the setting as the backdrop for a story about the Black and immigrant Oaklanders who once worked on the railroad.\u003c/p>\n\u003cp>We all sat in our cars, peering through our windshields, as the voice of actor William Oliver III was piped in through our radios.\u003c/p>\n\u003cp>“Oakland is some kind of town, ain’t it?” enthused Oliver, launching into his lines in the guise of a railroad worker with uniform and cap. The audience of cars honked back at him in response.\u003c/p>\n\u003cp>Drive-in shows. Online fundraisers. Rehearsals via Zoom. Welcome to the new reality of producing art in the Bay Area a year into COVID-19. The pandemic has been grueling—as well as transformative—for the local arts community. And now its constituents are using what they’ve learned over the past 12 months to help navigate the road ahead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland Theater Project, for one, has planned its entire new season around the drive-in experience.\u003c/p>\n\u003cp>“This is something we could ask people to come to and still feel like we’re keeping them safe,” says Oakland Theater Project co-artistic director William Thomas Hodgson.\u003c/p>\n\u003cp>Hodgson wants to get audiences out of their cars and into the theater again. But there are some aspects to producing shows in a pandemic that he hopes will stick around—like paying actors a fairer wage.\u003c/p>\n\u003cp>He says his company has been able to up its pay by 50% over last year. That’s possible in a season like this one, where the maximum cast size is five. But this community-oriented company is known for producing shows with much bigger forces.\u003c/p>\n\u003cp>“We’re committed to this. We’re gonna do it,” Hodgson says. “But our mainstay at Oakland Theater Project has been these large cast productions. I don’t know what that looks like in the future.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Opera San José Presents: Wagner's The Flying Dutchman\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/gylTi_haPE0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Similarly to Oakland Theater Project, \u003ca href=\"https://www.operasj.org/?gclid=Cj0KCQiA-aGCBhCwARIsAHDl5x-BWCh9gw6WSala3s5O5jzxt7xQrCNo9z5g5BKRV6pKrUrDkO-soQ0aAgqoEALw_wcB\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a> also hopes one day to return to big productions, like its staging of \u003cem>The Flying Dutchman\u003c/em> from 2018, which featured an orchestra, chorus and soloists and required several hours of the audience’s attention.\u003c/p>\n\u003cp>But the pandemic has inspired Opera San Jose to lean into producing one-act and chamber works with small casts and shorter timeframes going forward. One recent example is the company’s video-streamed take on \u003cem>Three Decembers\u003c/em>, a 90-minute-long chamber opera with a trio of performers and piano accompaniment.\u003c/p>\n\u003cp>“Shorter evenings reduce risk and help patrons feel more comfortable,” says Opera San Jose general director Khori Dastoor. “They make a lot of sense to welcome new audiences.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"The Making of THREE DECEMBERS\"' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uTIVoS4o7R8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dastoor is investing heavily in digital tools and training, including offering video content translated into Spanish and Vietnamese. She says her audience is expanding as a result of these efforts, with several thousand new households tuning in this past year versus around several hundred in previous years, both locally and from places as far flung as Germany and Japan.\u003c/p>\n\u003cp>She says her donor base is holding, but she recognizes some traditional opera lovers might not be on board with the digital revolution.\u003c/p>\n\u003cp>“My anxiety and concern is how long it takes for us to get to a model where the people we’ve lost because of our pivot are offset by the new people that are engaging with us for the first time,” Dastoor says.\u003c/p>\n\u003cp>The bicoastal contemporary dance company \u003ca href=\"https://rawdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">RAWdance\u003c/a> (based in San Francisco and Hudson Valley, New York) has also been able to reach new audiences with virtual content during the pandemic. In January, the group presented the video world premiere of \u003cem>The Healer,\u003c/em> a work for four dancers in flowing, pleated skirts inspired in part by the COVID-19 pandemic. The piece explores humans’ ability to overcome physical and emotional suffering through the theme of traditional Chinese medicine and holistic practices.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Trailer: \"The Healer\" (2021)' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/aAMtkWTocgk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>RAWdance co-artistic director Katerina Wong says her company has been working hard to adapt a three-dimensional art form to the two-dimensional screen.\u003c/p>\n\u003cp>“How do we still create that sense of connection and intimacy and communication, when so many of us are sitting and watching lots of Netflix or on back to back Zoom calls? It’s really hard to cut through that,” Wong says.\u003c/p>\n\u003cp>Wong says producing high quality video is expensive, especially for small dance companies like hers, but it’s something she plans to pursue even after the pandemic is over. A major financial challenge her company faces is figuring out how to expand access to the art form without sacrificing the quality of live performances when they return.\u003c/p>\n\u003cp>RAWdance relies on donations and grants for survival, including funding from the City of San Francisco. Wong and fellow co-directors Wendy Rein and Ryan T. Smith want to see more government support.\u003c/p>\n\u003cp>“What feels so essential, being located in these cities, is that it’s the signaling of the significance of artists in the community to be culture bearers and culture makers,” Wong says. “And I hope that that can be acknowledged by funding support.”\u003c/p>\n\u003cp>San Francisco Mayor London Breed just announced a proposal to provide $17 million in one-time support to local arts groups. The city’s board of supervisors is expected to discuss the proposal on Mar. 17. But one of the main sources of arts funding, the hotel tax, is down by nearly 90% since last year, and arts groups are worried about making it through.\u003c/p>\n\u003cp>“The short term prognosis is not good,” says San Francisco-based indie band manager \u003ca href=\"https://en.wikipedia.org/wiki/Jordan_Kurland\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Kurland\u003c/a>. He \u003ca href=\"https://brilliantcorners.com/\" target=\"_blank\" rel=\"noopener noreferrer\">represents\u003c/a> groups like \u003ca href=\"https://brilliantcorners.com/#/death-cab-for-cutie/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Cab for Cutie\u003c/a>, \u003ca href=\"https://brilliantcorners.com/#/the-new-pornographers/\" target=\"_blank\" rel=\"noopener noreferrer\">The New Pornographers\u003c/a> and the Bay Area’s own \u003ca href=\"https://brilliantcorners.com/#/toro-y-moi/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>Kurland also sits on the boards of several local arts nonprofits including \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Lab\u003c/a> and the \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, and says the Bay Area community isn’t just desperate for \u003cem>local\u003c/em> government support. They’re also waiting for \u003cem>federal\u003c/em> aid to materialize from the so-called \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Save our Stages Act\u003c/a>, a $15 billion aid package signed into law last December.\u003c/p>\n\u003cp>“That is going to provide some relief,” Kurland says. “But the application process has not begun.”\u003c/p>\n\u003cp>Yet the resilience and creativity he’s seeing across the Bay Area arts community gives Kurland reason for hope. For starters rents have been dropping in the Bay Area. And, he says, as the Bay Area becomes more affordable, the local arts community will bounce back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think there’s opportunity right now,” Kurland says. “I think that is a silver lining from the pandemic.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Musicians Demand Better Pay at Spotify Headquarters Around the World",
"headTitle": "Musicians Demand Better Pay at Spotify Headquarters Around the World | KQED",
"content": "\u003cp>The pandemic has pushed millions of people into poverty while \u003ca href=\"https://finance.yahoo.com/news/15-billionaires-got-richer-during-180014582.html\" target=\"_blank\" rel=\"noopener noreferrer\">billionaires have only gotten richer\u003c/a>, and as a result, gig workers are organizing. That includes independent musicians, many of whom have begun to see themselves as a labor force capable of advocating for better pay.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.unionofmusicians.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Union of Musicians and Allied Workers\u003c/a> (UMAW) is an advocacy group that came together during the coronavirus pandemic. Since October, they’ve been running a Justice at Spotify campaign that asks the Swedish streaming giant to increase its pay rate to a penny per stream.\u003c/p>\n\u003cp>Over 27,500 musicians have signed UMAW’s campaign. And on March 15, they protested at 31 Spotify headquarters around the world, including San Francisco. On a sidewalk in the Financial District, about a dozen demonstrators gathered with signs, tambourines and cow bells, chanting in reference to Spotify’s CEO, “Daniel Ek, where’s my check?”\u003c/p>\n\u003cp>While a penny per play may not sound like a lot, it’s a significant step up from Spotify’s estimated rate of $0.0038 per stream. To give a clearer picture, NPR calculated that for an artist to earn the equivalent of $15 an hour at a full-time job, they would have to garner \u003ca href=\"https://www.npr.org/2020/08/19/903547253/a-tale-of-two-ecosystems-on-bandcamp-spotify-and-the-wide-open-future\" target=\"_blank\" rel=\"noopener noreferrer\">657,895 Spotify streams per month\u003c/a>—a figure that’s only attainable to those with considerable star power, and still isn’t a living wage in most major cities. (Spotify hasn’t publicly released its rates, and some artists have reported payments \u003ca href=\"https://www.bbc.com/news/entertainment-arts-54551342\" target=\"_blank\" rel=\"noopener noreferrer\">even lower\u003c/a> than the commonly held $0.0038 estimate.) [aside postid='arts_13857471']\u003c/p>\n\u003cp>Meanwhile, streaming has become a billion dollar business. Spotify boasts 345 million subscribers worldwide, by far outpacing competitors such as Apple Music and Tidal, and in the most recent quarter its \u003ca href=\"https://www.hollywoodreporter.com/news/spotify-fourth-quarter-subscribers-growth\" target=\"_blank\" rel=\"noopener noreferrer\">advertising revenue\u003c/a> was up 29% from the previous year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re the musicians, we power the platform and we should be the ones who are compensated,” said Sam Regan of the band \u003ca href=\"https://baseballgregg.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Baseball Gregg\u003c/a>, who drove to San Francisco from Stockton to attend the action.\u003c/p>\n\u003cfigure id=\"attachment_13894052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13894052 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/IMG_5503-800x533.jpg\" alt='A protester holds a sign that says \"Fuck yo greed Spotify!\" Another holds one that reads \"Justice at Spotify.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazz bassist Caroline Chung (left) and Sam Regan of indie rock band Baseball Gregg protest at Spotify headquarters in San Francisco on March 15. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a loudspeaker, Regan read aloud UMAW’s \u003ca href=\"https://www.unionofmusicians.org/justice-at-spotify-demands\" target=\"_blank\" rel=\"noopener noreferrer\">demands\u003c/a>, which include greater transparency about Spotify’s deals with record labels, and an end to what the activists call a practice of “payola” for visibility on the platform. (Recently, Spotify announced a new deal where artists could opt for greater visibility in its algorithm in exchange for lower pay.) UMAW also wants more transparency about Spotify’s payment structures, and for Spotify to drop its court \u003ca href=\"https://www.musicbusinessworldwide.com/songwriters-dealt-blow-in-spotify-royalty-rate-battle-as-streaming-platforms-claim-procedural-victory-in-us-appeals-court/#:~:text=Digital%20services%20including%20Spotify%2C%20Amazon,to%20songwriters%20in%20the%20US.\" target=\"_blank\" rel=\"noopener noreferrer\">appeal\u003c/a> to lower songwriters’ royalties, which activists say is an example of the company working against artists. Spotify did not return KQED’s request for comment.\u003c/p>\n\u003cp>“There is money in streaming, and it’s not going mostly to musicians,” said singer-songwriter \u003ca href=\"https://juliaholter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Holter\u003c/a>, an organizer of UMAW’s Los Angeles rally, in a Zoom interview last week. “Especially in the U.S., ‘Is art really work?’ is a question we have to deal with all the time. The point is, there’s someone making money.”\u003c/p>\n\u003cp>Holter pointed to a recent \u003ca href=\"https://djmag.com/news/majority-listeners-want-musicians-be-paid-more-streaming-platforms-survey-says\" target=\"_blank\" rel=\"noopener noreferrer\">U.K. survey\u003c/a> from a similar campaign called \u003ca href=\"https://musically.com/2020/05/18/brokenrecord-its-about-saying-we-all-recognise-that-this-is-problematic/\" target=\"_blank\" rel=\"noopener noreferrer\">#BrokenRecord\u003c/a> that showed that half of respondents would pay more for streaming services if they knew the money was going directly to artists. Her fellow organizer, Gracie Malley of the San Francisco protest, sees a similar trend in the United States with the popularity of \u003ca href=\"https://daily.bandcamp.com/features/update-on-bandcamp-fridays\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp Fridays\u003c/a>, where the Oakland-based music platform (which focuses on album sales, not streaming) waives its share of revenue once a month.\u003c/p>\n\u003cp>“Maybe that’s planting a seed in people’s heads—I feel good giving my money to this artist,” Malley said. “Maybe I’ll think twice about streaming them on Spotify or maybe using Spotify in general.”\u003c/p>\n\u003cfigure id=\"attachment_13894053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/IMG_5508-800x533.jpg\" alt='A woman with green hair holds a sign that says \"We stand with musicians.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Painter Sylvie McClelland attended the March 15 protest at Spotify in support of her musician friends. “In the pandemic, music has gotten me through many months of upset, and I think artists need to be paid,” she said. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The organizers of UMAW see their Justice at Spotify campaign as only the beginning. They also have subcommittees that advocate for artists in live music and record label relations, and hope to harness the power of collective bargaining in a highly individualistic field.\u003c/p>\n\u003cp>“We don’t have a complaint department, and that’s a problem. Unionization is the only way,” said New York UMAW organizer Marshall Moran, a musician, educator and engineer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Like minimum wage, fighting for a penny per stream is a drop in the bucket for what we really need,” he continued. “We’re just trying to let everybody know—there’s a lot of people out there who are scared. Everybody is really terrified right now if you’re in music. And we want them to know they have solidarity. They have a place we can come and we’re trying to fight for them.”\u003c/p>\n\n",
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"excerpt": "The Union of Musicians and Allied Workers wants the streaming giant to pay a penny per stream and end what they claim is favoritism for major labels.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The pandemic has pushed millions of people into poverty while \u003ca href=\"https://finance.yahoo.com/news/15-billionaires-got-richer-during-180014582.html\" target=\"_blank\" rel=\"noopener noreferrer\">billionaires have only gotten richer\u003c/a>, and as a result, gig workers are organizing. That includes independent musicians, many of whom have begun to see themselves as a labor force capable of advocating for better pay.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.unionofmusicians.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Union of Musicians and Allied Workers\u003c/a> (UMAW) is an advocacy group that came together during the coronavirus pandemic. Since October, they’ve been running a Justice at Spotify campaign that asks the Swedish streaming giant to increase its pay rate to a penny per stream.\u003c/p>\n\u003cp>Over 27,500 musicians have signed UMAW’s campaign. And on March 15, they protested at 31 Spotify headquarters around the world, including San Francisco. On a sidewalk in the Financial District, about a dozen demonstrators gathered with signs, tambourines and cow bells, chanting in reference to Spotify’s CEO, “Daniel Ek, where’s my check?”\u003c/p>\n\u003cp>While a penny per play may not sound like a lot, it’s a significant step up from Spotify’s estimated rate of $0.0038 per stream. To give a clearer picture, NPR calculated that for an artist to earn the equivalent of $15 an hour at a full-time job, they would have to garner \u003ca href=\"https://www.npr.org/2020/08/19/903547253/a-tale-of-two-ecosystems-on-bandcamp-spotify-and-the-wide-open-future\" target=\"_blank\" rel=\"noopener noreferrer\">657,895 Spotify streams per month\u003c/a>—a figure that’s only attainable to those with considerable star power, and still isn’t a living wage in most major cities. (Spotify hasn’t publicly released its rates, and some artists have reported payments \u003ca href=\"https://www.bbc.com/news/entertainment-arts-54551342\" target=\"_blank\" rel=\"noopener noreferrer\">even lower\u003c/a> than the commonly held $0.0038 estimate.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, streaming has become a billion dollar business. Spotify boasts 345 million subscribers worldwide, by far outpacing competitors such as Apple Music and Tidal, and in the most recent quarter its \u003ca href=\"https://www.hollywoodreporter.com/news/spotify-fourth-quarter-subscribers-growth\" target=\"_blank\" rel=\"noopener noreferrer\">advertising revenue\u003c/a> was up 29% from the previous year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re the musicians, we power the platform and we should be the ones who are compensated,” said Sam Regan of the band \u003ca href=\"https://baseballgregg.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Baseball Gregg\u003c/a>, who drove to San Francisco from Stockton to attend the action.\u003c/p>\n\u003cfigure id=\"attachment_13894052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13894052 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/IMG_5503-800x533.jpg\" alt='A protester holds a sign that says \"Fuck yo greed Spotify!\" Another holds one that reads \"Justice at Spotify.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazz bassist Caroline Chung (left) and Sam Regan of indie rock band Baseball Gregg protest at Spotify headquarters in San Francisco on March 15. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a loudspeaker, Regan read aloud UMAW’s \u003ca href=\"https://www.unionofmusicians.org/justice-at-spotify-demands\" target=\"_blank\" rel=\"noopener noreferrer\">demands\u003c/a>, which include greater transparency about Spotify’s deals with record labels, and an end to what the activists call a practice of “payola” for visibility on the platform. (Recently, Spotify announced a new deal where artists could opt for greater visibility in its algorithm in exchange for lower pay.) UMAW also wants more transparency about Spotify’s payment structures, and for Spotify to drop its court \u003ca href=\"https://www.musicbusinessworldwide.com/songwriters-dealt-blow-in-spotify-royalty-rate-battle-as-streaming-platforms-claim-procedural-victory-in-us-appeals-court/#:~:text=Digital%20services%20including%20Spotify%2C%20Amazon,to%20songwriters%20in%20the%20US.\" target=\"_blank\" rel=\"noopener noreferrer\">appeal\u003c/a> to lower songwriters’ royalties, which activists say is an example of the company working against artists. Spotify did not return KQED’s request for comment.\u003c/p>\n\u003cp>“There is money in streaming, and it’s not going mostly to musicians,” said singer-songwriter \u003ca href=\"https://juliaholter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Holter\u003c/a>, an organizer of UMAW’s Los Angeles rally, in a Zoom interview last week. “Especially in the U.S., ‘Is art really work?’ is a question we have to deal with all the time. The point is, there’s someone making money.”\u003c/p>\n\u003cp>Holter pointed to a recent \u003ca href=\"https://djmag.com/news/majority-listeners-want-musicians-be-paid-more-streaming-platforms-survey-says\" target=\"_blank\" rel=\"noopener noreferrer\">U.K. survey\u003c/a> from a similar campaign called \u003ca href=\"https://musically.com/2020/05/18/brokenrecord-its-about-saying-we-all-recognise-that-this-is-problematic/\" target=\"_blank\" rel=\"noopener noreferrer\">#BrokenRecord\u003c/a> that showed that half of respondents would pay more for streaming services if they knew the money was going directly to artists. Her fellow organizer, Gracie Malley of the San Francisco protest, sees a similar trend in the United States with the popularity of \u003ca href=\"https://daily.bandcamp.com/features/update-on-bandcamp-fridays\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp Fridays\u003c/a>, where the Oakland-based music platform (which focuses on album sales, not streaming) waives its share of revenue once a month.\u003c/p>\n\u003cp>“Maybe that’s planting a seed in people’s heads—I feel good giving my money to this artist,” Malley said. “Maybe I’ll think twice about streaming them on Spotify or maybe using Spotify in general.”\u003c/p>\n\u003cfigure id=\"attachment_13894053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/IMG_5508-800x533.jpg\" alt='A woman with green hair holds a sign that says \"We stand with musicians.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Painter Sylvie McClelland attended the March 15 protest at Spotify in support of her musician friends. “In the pandemic, music has gotten me through many months of upset, and I think artists need to be paid,” she said. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The organizers of UMAW see their Justice at Spotify campaign as only the beginning. They also have subcommittees that advocate for artists in live music and record label relations, and hope to harness the power of collective bargaining in a highly individualistic field.\u003c/p>\n\u003cp>“We don’t have a complaint department, and that’s a problem. Unionization is the only way,” said New York UMAW organizer Marshall Moran, a musician, educator and engineer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Like minimum wage, fighting for a penny per stream is a drop in the bucket for what we really need,” he continued. “We’re just trying to let everybody know—there’s a lot of people out there who are scared. Everybody is really terrified right now if you’re in music. And we want them to know they have solidarity. They have a place we can come and we’re trying to fight for them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After Oprah Interview, Harry and Meghan Slammed by British Press",
"headTitle": "After Oprah Interview, Harry and Meghan Slammed by British Press | KQED",
"content": "\u003cp>Over 17 million people tuned into CBS Sunday night to watch Oprah Winfrey interview Prince Harry and Meghan Markle. And the content—while not entirely unfiltered (names were mostly not named)—was littered with bombshells.\u003c/p>\n\u003cp>Most shocking was the revelation that at least one senior royal family member expressed “concerns” about how dark baby Archie’s skin might be. Most heart-wrenching was watching Meghan recall “begging” her extended family for mental health assistance and being denied, despite feeling suicidal in a manner that was “very clear and real and frightening.” Then there was Harry’s casual mention of the fact that his father, Prince Charles—the next king—had at one point stopped taking his phone calls.\u003c/p>\n\u003cp>The response on this side of the Atlantic was decisive and consistently positive. “This wasn’t just celebrity gossip,” \u003ca href=\"https://www.rollingstone.com/tv/tv-features/harry-meghan-oprah-interview-recap-1138184/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em> concluded\u003c/a>, “but a story about mental health, about institutionalized racism and inertia, and about how images … can lie.”\u003c/p>\n\u003cp>CNN’s \u003ca href=\"https://twitter.com/abbydphillip/status/1368747295215263744\" target=\"_blank\" rel=\"noopener noreferrer\">Abby Philip\u003c/a>, author \u003ca href=\"https://twitter.com/rgay/status/1368790522760892418\" target=\"_blank\" rel=\"noopener noreferrer\">Roxane Gay\u003c/a>, poet \u003ca href=\"https://twitter.com/TheAmandaGorman/status/1368770442916335617\" target=\"_blank\" rel=\"noopener noreferrer\">Amanda Gorman\u003c/a> and \u003cem>The View\u003c/em>‘s \u003ca href=\"https://twitter.com/ananavarro/status/1368958716419117056\" target=\"_blank\" rel=\"noopener noreferrer\">Ana Navarro-Cárdenas\u003c/a>—among many others—all spoke out in support. Meghan’s friend Serena Williams noted in a statement on Twitter: “The mental health consequences of systemic oppression and victimization are devastating, isolating and all too often lethal.”\u003c/p>\n\u003cp>https://twitter.com/serenawilliams/status/1368782412356984832\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even the White House weighed in:\u003c/p>\n\u003cp>https://twitter.com/nowthisnews/status/1368972851483643905\u003c/p>\n\u003cp>All of which leaves America with the overwhelming impression that this was a slam-dunk; a triumph in which Harry and Meghan spoke their truth, explained exactly why their lives in England weren’t working and won a moral victory against the royal family.\u003c/p>\n\u003cp>The press in Britain, however, has been telling a different story entirely.\u003c/p>\n\u003cp>Before the interview had even aired, papers were working overtime to make Harry and Meghan look petty and cruel for finally speaking out. The day before the CBS broadcast, the\u003cem> Daily Mirror\u003c/em>‘s front page focused on the “immense sadness” and “anguish” the interview was apparently causing Harry’s father and brother. It also claimed that Charles and William had made “attempts to heal the rift.” (Something later contradicted by Harry’s version of events.)\u003c/p>\n\u003cp>https://twitter.com/rjmyers/status/1368689475900047362\u003c/p>\n\u003cp>That same day, \u003cem>Sky News\u003c/em>‘ royal correspondent Rhiannon Mills \u003ca href=\"https://twitter.com/SkyRhiannon/status/1368628779753627657\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a>: “One palace insider said to me in some ways it’s hard to understand why Harry and Meghan have done this interview when they have their new home, baby on the way, lucrative deals ‘when the war is over it’s probably best to stop bombing’ they said. Tonight we brace for the impact.”\u003c/p>\n\u003cp>Also on Saturday, \u003ca href=\"https://www.thesun.co.uk/news/14264111/meghan-markle-never-return-britain-royal-family-oprah/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Sun\u003c/em>\u003c/a> went even further, in a story that claimed: “Windsor Castle and Palace staff have dubbed the chat ‘Moperah’ after seeing whingey” previews. The article went on: “Royal staff described Prince Harry as Meghan Markle’s ‘hostage’ before the couple left for a new life in the States, it emerged last night.”\u003c/p>\n\u003cp>Though initially about the upcoming interview, the focus of \u003cem>The Sun\u003c/em>‘s story quickly shifted to claims that Meghan bullied palace staff:\u003c/p>\n\u003cblockquote>\u003cp>Meghan was said to be furious that embroidered blankets as gifts for the guests were not the correct shade of red. Staff at the time have accused Meghan of being ‘genuinely unkind’ to workers. Others are said to be furious that unfounded allegations of racism could stick in their new careers.\u003c/p>\u003c/blockquote>\n\u003cp>The narrative in which Meghan is presented as a cruel and bullying tyrant is currently so present across all U.K. media that citizens are showing signs of fatigue:\u003c/p>\n\u003cp>https://twitter.com/sarahlethbridge/status/1367018815310221316\u003c/p>\n\u003cp>The host of \u003cem>Good Morning Britain\u003c/em>, Piers Morgan, made his views on Meghan abundantly clear after the above discussion aired:\u003c/p>\n\u003cp>https://twitter.com/piersmorgan/status/1368789384410042372\u003c/p>\n\u003cp>That was all before the interview had even aired. [aside postid='arts_13878920']\u003c/p>\n\u003cp>Regardless of what the Duke and Duchess of Sussex told Oprah, the U.K.’s tabloids were never going to respond favorably or sympathetically. Harry and Meghan’s recent lawsuits against three of Britain’s most popular newspapers—\u003cem>The Sun\u003c/em> and \u003cem>Daily Mirror\u003c/em> over alleged incidents of phone hacking, and a privacy case the couple \u003ca href=\"https://www.nytimes.com/2021/02/11/world/europe/meghan-markle-privacy-mail-on-sunday.html\" target=\"_blank\" rel=\"noopener noreferrer\">just won\u003c/a> against the \u003cem>Daily Mail\u003c/em>‘s Sunday edition—did not set them up for positive coverage. Neither did the couple’s choice to publicly instate a “\u003ca href=\"https://www.kqed.org/arts/13878920/meghan-and-harry-take-stonewalling-uk-tabloids-to-a-new-level\" target=\"_blank\" rel=\"noopener noreferrer\">zero engagement\u003c/a>” policy against those three papers, plus the \u003cem>Daily Express\u003c/em>.\u003c/p>\n\u003cp>However, the tone was set years ago in the way that the British press has always \u003ca href=\"https://www.kqed.org/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives\" target=\"_blank\" rel=\"noopener noreferrer\">singled out and attacked\u003c/a> the newest—and usually most popular—member of the royal family. It happened to Harry’s mother, Diana. And to his aunt, Sarah Ferguson. And before Meghan came along, the press had reveled in mocking both Kate Middleton and Harry’s ex-girlfriend Chelsy Davy. Meghan would have been subject to the cruel whims of Britain’s daily tabloids whether the couple had sued them or not. It certainly would have happened regardless of them sitting down with Oprah.\u003c/p>\n\u003cp>For decades, the U.K. tabloids have acted with impunity when it comes to the royal family. In 1992, \u003cem>The Sun\u003c/em> acquired, and leaked, \u003ca href=\"https://en.wikipedia.org/wiki/Squidgygate\" target=\"_blank\" rel=\"noopener noreferrer\">personal phone conversations\u003c/a> between Harry’s mother, Diana and her friend, James Gilbey. In 1993, \u003ca href=\"https://en.wikipedia.org/wiki/The_Sunday_People\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The People\u003c/em>\u003c/a> shared an \u003ca href=\"https://www.mirror.co.uk/news/uk-news/how-camillagate-tapes-exposed-secret-10958350\" target=\"_blank\" rel=\"noopener noreferrer\">explicit phone conversation\u003c/a> between Camilla Parker Bowles and Prince Charles from 1989, when he was still married to Diana. Despite the national scandal and humiliation caused by both recordings, no legal action was ever taken against the papers. That was due in part to the royal family’s unofficial motto: “Never complain, never explain.” But it left some outlets with the impression that, when it came to the royal family, no report was too violating. [aside postid='arts_13875053']\u003c/p>\n\u003cp>Harry spent part of his time with Oprah lifting the lid off the toxic relationship between his family and the press in his home country. “I am acutely aware of where my family stands and how scared they are of the tabloids turning on them,” Harry told Oprah. “There is this … invisible contract between the institution and the U.K. tabloids. To simplify, if you as a family member are willing to wine, dine and give full access to these reporters, then you are able to get better press.”\u003c/p>\n\u003cp>It was a foregone conclusion then, that the U.K. papers would be quick to find fault with Harry and Meghan’s interview, no matter what it contained. And it did, to the point of near-revelry.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.dailymail.co.uk/news/article-9336731/I-naive-marrying-Harry-says-Meghan-bombshell-Oprah-interview-gets-underway.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daily Mail\u003c/em>\u003c/a> asked three “royal experts” to weigh in. The conclusions were, across the board, entirely negative. Russell Myers said Harry and Meghan’s “lack of awareness is breath-taking.” Angela Levin opined, “They have no emotional intelligence.” And Robert Jobson called the interview “self-indulgent and selfish,” and unconvincingly suggested that it was unfair because “the Monarchy can’t fight back.” [aside postid='arts_13866072']\u003c/p>\n\u003cp>The\u003cem> Daily Express—\u003c/em>arguably Britain’s most fervently pro-monarchy newspaper—led their coverage with \u003ca href=\"https://www.express.co.uk/news/royal/1406914/meghan-markle-prince-harry-oprah-winfrey-interview-itv-watch-royal-family-twitter-ont\" target=\"_blank\" rel=\"noopener noreferrer\">the headline\u003c/a>: “Meghan Markle and Harry blasted by Twitter users over Oprah interview—‘Kind of stupid’.” \u003ca href=\"https://www.hollywoodreporter.com/news/u-k-press-has-hysterical-reaction-to-oprah-winfreys-interview-with-meghan-markle-and-prince-harry\" target=\"_blank\" rel=\"noopener noreferrer\">Piers Morgan said\u003c/a> on \u003cem>Good Morning Britain \u003c/em>that Harry was guilty of “spray-gunning his entire family on global TV.” And \u003ca href=\"https://www.telegraph.co.uk/royal-family/2021/03/07/meghan-can-learn-mrs-simpsons-tell-all-tv-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Telegraph\u003c/em>\u003c/a> compared Meghan unfavorably to Wallis Simpson, for whom Edward VIII abandoned the throne in 1936. “The saddest thing,” the paper reported, “is that Wallis and Edward, despite being banished, were dutiful and patriotic to the end.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If Harry and Meghan are being undutiful, the content of the Oprah interview explains exactly why—it was a matter of survival, and one that, in the end, could not be avoided. Their new lives in the U.S. are an inconvenience and an embarrassment not just for the royal family, but also for the U.K. tabloid press. Both of those historic institutions are giants accustomed to getting their own way. That Harry and Meghan have ditched them both for sunnier pastures will be the subject of bad press for years to come. That they just talked so openly about it is an indication that they no longer care.\u003c/p>\n\n",
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"excerpt": "The outpouring of U.S. support for the couple was matched only by British fury—the reasons are more complex than you might think.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 17 million people tuned into CBS Sunday night to watch Oprah Winfrey interview Prince Harry and Meghan Markle. And the content—while not entirely unfiltered (names were mostly not named)—was littered with bombshells.\u003c/p>\n\u003cp>Most shocking was the revelation that at least one senior royal family member expressed “concerns” about how dark baby Archie’s skin might be. Most heart-wrenching was watching Meghan recall “begging” her extended family for mental health assistance and being denied, despite feeling suicidal in a manner that was “very clear and real and frightening.” Then there was Harry’s casual mention of the fact that his father, Prince Charles—the next king—had at one point stopped taking his phone calls.\u003c/p>\n\u003cp>The response on this side of the Atlantic was decisive and consistently positive. “This wasn’t just celebrity gossip,” \u003ca href=\"https://www.rollingstone.com/tv/tv-features/harry-meghan-oprah-interview-recap-1138184/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em> concluded\u003c/a>, “but a story about mental health, about institutionalized racism and inertia, and about how images … can lie.”\u003c/p>\n\u003cp>CNN’s \u003ca href=\"https://twitter.com/abbydphillip/status/1368747295215263744\" target=\"_blank\" rel=\"noopener noreferrer\">Abby Philip\u003c/a>, author \u003ca href=\"https://twitter.com/rgay/status/1368790522760892418\" target=\"_blank\" rel=\"noopener noreferrer\">Roxane Gay\u003c/a>, poet \u003ca href=\"https://twitter.com/TheAmandaGorman/status/1368770442916335617\" target=\"_blank\" rel=\"noopener noreferrer\">Amanda Gorman\u003c/a> and \u003cem>The View\u003c/em>‘s \u003ca href=\"https://twitter.com/ananavarro/status/1368958716419117056\" target=\"_blank\" rel=\"noopener noreferrer\">Ana Navarro-Cárdenas\u003c/a>—among many others—all spoke out in support. Meghan’s friend Serena Williams noted in a statement on Twitter: “The mental health consequences of systemic oppression and victimization are devastating, isolating and all too often lethal.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even the White House weighed in:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>All of which leaves America with the overwhelming impression that this was a slam-dunk; a triumph in which Harry and Meghan spoke their truth, explained exactly why their lives in England weren’t working and won a moral victory against the royal family.\u003c/p>\n\u003cp>The press in Britain, however, has been telling a different story entirely.\u003c/p>\n\u003cp>Before the interview had even aired, papers were working overtime to make Harry and Meghan look petty and cruel for finally speaking out. The day before the CBS broadcast, the\u003cem> Daily Mirror\u003c/em>‘s front page focused on the “immense sadness” and “anguish” the interview was apparently causing Harry’s father and brother. It also claimed that Charles and William had made “attempts to heal the rift.” (Something later contradicted by Harry’s version of events.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>That same day, \u003cem>Sky News\u003c/em>‘ royal correspondent Rhiannon Mills \u003ca href=\"https://twitter.com/SkyRhiannon/status/1368628779753627657\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a>: “One palace insider said to me in some ways it’s hard to understand why Harry and Meghan have done this interview when they have their new home, baby on the way, lucrative deals ‘when the war is over it’s probably best to stop bombing’ they said. Tonight we brace for the impact.”\u003c/p>\n\u003cp>Also on Saturday, \u003ca href=\"https://www.thesun.co.uk/news/14264111/meghan-markle-never-return-britain-royal-family-oprah/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Sun\u003c/em>\u003c/a> went even further, in a story that claimed: “Windsor Castle and Palace staff have dubbed the chat ‘Moperah’ after seeing whingey” previews. The article went on: “Royal staff described Prince Harry as Meghan Markle’s ‘hostage’ before the couple left for a new life in the States, it emerged last night.”\u003c/p>\n\u003cp>Though initially about the upcoming interview, the focus of \u003cem>The Sun\u003c/em>‘s story quickly shifted to claims that Meghan bullied palace staff:\u003c/p>\n\u003cblockquote>\u003cp>Meghan was said to be furious that embroidered blankets as gifts for the guests were not the correct shade of red. Staff at the time have accused Meghan of being ‘genuinely unkind’ to workers. Others are said to be furious that unfounded allegations of racism could stick in their new careers.\u003c/p>\u003c/blockquote>\n\u003cp>The narrative in which Meghan is presented as a cruel and bullying tyrant is currently so present across all U.K. media that citizens are showing signs of fatigue:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The host of \u003cem>Good Morning Britain\u003c/em>, Piers Morgan, made his views on Meghan abundantly clear after the above discussion aired:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>That was all before the interview had even aired. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Regardless of what the Duke and Duchess of Sussex told Oprah, the U.K.’s tabloids were never going to respond favorably or sympathetically. Harry and Meghan’s recent lawsuits against three of Britain’s most popular newspapers—\u003cem>The Sun\u003c/em> and \u003cem>Daily Mirror\u003c/em> over alleged incidents of phone hacking, and a privacy case the couple \u003ca href=\"https://www.nytimes.com/2021/02/11/world/europe/meghan-markle-privacy-mail-on-sunday.html\" target=\"_blank\" rel=\"noopener noreferrer\">just won\u003c/a> against the \u003cem>Daily Mail\u003c/em>‘s Sunday edition—did not set them up for positive coverage. Neither did the couple’s choice to publicly instate a “\u003ca href=\"https://www.kqed.org/arts/13878920/meghan-and-harry-take-stonewalling-uk-tabloids-to-a-new-level\" target=\"_blank\" rel=\"noopener noreferrer\">zero engagement\u003c/a>” policy against those three papers, plus the \u003cem>Daily Express\u003c/em>.\u003c/p>\n\u003cp>However, the tone was set years ago in the way that the British press has always \u003ca href=\"https://www.kqed.org/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives\" target=\"_blank\" rel=\"noopener noreferrer\">singled out and attacked\u003c/a> the newest—and usually most popular—member of the royal family. It happened to Harry’s mother, Diana. And to his aunt, Sarah Ferguson. And before Meghan came along, the press had reveled in mocking both Kate Middleton and Harry’s ex-girlfriend Chelsy Davy. Meghan would have been subject to the cruel whims of Britain’s daily tabloids whether the couple had sued them or not. It certainly would have happened regardless of them sitting down with Oprah.\u003c/p>\n\u003cp>For decades, the U.K. tabloids have acted with impunity when it comes to the royal family. In 1992, \u003cem>The Sun\u003c/em> acquired, and leaked, \u003ca href=\"https://en.wikipedia.org/wiki/Squidgygate\" target=\"_blank\" rel=\"noopener noreferrer\">personal phone conversations\u003c/a> between Harry’s mother, Diana and her friend, James Gilbey. In 1993, \u003ca href=\"https://en.wikipedia.org/wiki/The_Sunday_People\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The People\u003c/em>\u003c/a> shared an \u003ca href=\"https://www.mirror.co.uk/news/uk-news/how-camillagate-tapes-exposed-secret-10958350\" target=\"_blank\" rel=\"noopener noreferrer\">explicit phone conversation\u003c/a> between Camilla Parker Bowles and Prince Charles from 1989, when he was still married to Diana. Despite the national scandal and humiliation caused by both recordings, no legal action was ever taken against the papers. That was due in part to the royal family’s unofficial motto: “Never complain, never explain.” But it left some outlets with the impression that, when it came to the royal family, no report was too violating. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Harry spent part of his time with Oprah lifting the lid off the toxic relationship between his family and the press in his home country. “I am acutely aware of where my family stands and how scared they are of the tabloids turning on them,” Harry told Oprah. “There is this … invisible contract between the institution and the U.K. tabloids. To simplify, if you as a family member are willing to wine, dine and give full access to these reporters, then you are able to get better press.”\u003c/p>\n\u003cp>It was a foregone conclusion then, that the U.K. papers would be quick to find fault with Harry and Meghan’s interview, no matter what it contained. And it did, to the point of near-revelry.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.dailymail.co.uk/news/article-9336731/I-naive-marrying-Harry-says-Meghan-bombshell-Oprah-interview-gets-underway.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daily Mail\u003c/em>\u003c/a> asked three “royal experts” to weigh in. The conclusions were, across the board, entirely negative. Russell Myers said Harry and Meghan’s “lack of awareness is breath-taking.” Angela Levin opined, “They have no emotional intelligence.” And Robert Jobson called the interview “self-indulgent and selfish,” and unconvincingly suggested that it was unfair because “the Monarchy can’t fight back.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The\u003cem> Daily Express—\u003c/em>arguably Britain’s most fervently pro-monarchy newspaper—led their coverage with \u003ca href=\"https://www.express.co.uk/news/royal/1406914/meghan-markle-prince-harry-oprah-winfrey-interview-itv-watch-royal-family-twitter-ont\" target=\"_blank\" rel=\"noopener noreferrer\">the headline\u003c/a>: “Meghan Markle and Harry blasted by Twitter users over Oprah interview—‘Kind of stupid’.” \u003ca href=\"https://www.hollywoodreporter.com/news/u-k-press-has-hysterical-reaction-to-oprah-winfreys-interview-with-meghan-markle-and-prince-harry\" target=\"_blank\" rel=\"noopener noreferrer\">Piers Morgan said\u003c/a> on \u003cem>Good Morning Britain \u003c/em>that Harry was guilty of “spray-gunning his entire family on global TV.” And \u003ca href=\"https://www.telegraph.co.uk/royal-family/2021/03/07/meghan-can-learn-mrs-simpsons-tell-all-tv-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Telegraph\u003c/em>\u003c/a> compared Meghan unfavorably to Wallis Simpson, for whom Edward VIII abandoned the throne in 1936. “The saddest thing,” the paper reported, “is that Wallis and Edward, despite being banished, were dutiful and patriotic to the end.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If Harry and Meghan are being undutiful, the content of the Oprah interview explains exactly why—it was a matter of survival, and one that, in the end, could not be avoided. Their new lives in the U.S. are an inconvenience and an embarrassment not just for the royal family, but also for the U.K. tabloid press. Both of those historic institutions are giants accustomed to getting their own way. That Harry and Meghan have ditched them both for sunnier pastures will be the subject of bad press for years to come. That they just talked so openly about it is an indication that they no longer care.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "de Young, Asian Art Museum and SFMOMA Reopen This Week, Hopefully for Good",
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"content": "\u003cp>The Asian Art Museum, de Young Museum and the San Francisco Museum of Modern Art will all reopen to the public this week after over three months of closure. The Asian Art Museum will reopen Thursday, March 4, followed by de Young on March 6, and SFMOMA on March 7. The news follows Mayor London Breed’s announcement today that San Francisco has entered the red tier, which allows cultural institutions to operate at 25% capacity.\u003c/p>\n\u003cp>All three museums will boast new exhibitions, installed during their temporary closure due to the pandemic’s winter surge. At the Asian Art Museum, that includes \u003ci>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/zheng-chongbin-i-look-for-the-sky/\" rel=\"noopener noreferrer\" target=\"_blank\">Zheng Chongbin: State of Oscillation\u003c/a>\u003c/i>, an “ephemeral chamber” of paintings, videos and translucent material in the light-filled Bogart Court; \u003ci>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/after-hope/\" rel=\"noopener noreferrer\" target=\"_blank\">After Hope: Videos of Resistance\u003c/a>\u003c/i>, 50 short videos made by artists across Asia and the Asian diaspora; and \u003ci>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/memento-jayashree-chakravarty-and-lam-tung-pang/\" rel=\"noopener noreferrer\" target=\"_blank\">Memento: Jayashree Chakravarty and Lam Tung Pang\u003c/a>\u003c/i>, an exhibition of two large-scale works by contemporary artists from Kolkata and Hong Kong, respectively. \u003c/p>\n\u003cp>The de Young hosts \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/calder-picasso\" rel=\"noopener noreferrer\" target=\"_blank\">Calder-Picasso\u003c/a>\u003c/i>, a touring exhibition making its first U.S. stop in San Francisco. With over 100 paintings, sculptures, drawings and photographs, \u003ci>Calder-Picasso\u003c/i> centers on the both artists’ occupation with “the void,” representations of space, time and inner emotions. \u003c/p>\n\u003cp>Also new to returning de Young audiences is \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/nampeyo-and-siky-tki-revival\" rel=\"noopener noreferrer\" target=\"_blank\">Nampeyo and the Sikyátki Revival\u003c/a>\u003c/i>, an installation of pots by the famed Tewa-Hopi potter Nampeyo, alongside additional examples of Hopi pottery and work by four generations of the artist’s descendants.\u003c/p>\n\u003cp>At SFMOMA, the museum reopens with \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/close-to-home/\" rel=\"noopener noreferrer\" target=\"_blank\">Close to Home: Creativity in Crisis\u003c/a>\u003c/i>, featuring newly commissioned work by seven Bay Area artists, and fresh additions to the series \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/bay-area-walls/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Walls\u003c/a>\u003c/i> by Liz Hernández, Erina Alejo and Adrian L. Burrell. The museum’s \u003ci>New Work\u003c/i> gallery will also feature an installation by \u003ca href=\"https://www.sfmoma.org/exhibition/new-work-charles-gaines/\" rel=\"noopener noreferrer\" target=\"_blank\">Charles Gaines\u003c/a>, including drawings, videos and a musical composition based on Supreme Court trial documents from the Dred Scott Decision of 1857. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The de Young and SFMOMA will offer member preview days prior to their public reopenings, and SFMOMA will be free to the public on March 7. For more details on admission and safety protocols, visit the \u003ca href=\"https://asianart.org/what-to-expect/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>, \u003ca href=\"https://www.famsf.org/press-room/de-young-museum-reopens-calder-picasso\" rel=\"noopener noreferrer\" target=\"_blank\">de Young\u003c/a> and \u003ca href=\"https://www.sfmoma.org/visit/visit-toolkit/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a>’s websites.\u003c/p>\n\n",
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"excerpt": "With vaccination rates rising and COVID-19 numbers dropping, museum-goers can be cautiously optimistic about no further privations.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Asian Art Museum, de Young Museum and the San Francisco Museum of Modern Art will all reopen to the public this week after over three months of closure. The Asian Art Museum will reopen Thursday, March 4, followed by de Young on March 6, and SFMOMA on March 7. The news follows Mayor London Breed’s announcement today that San Francisco has entered the red tier, which allows cultural institutions to operate at 25% capacity.\u003c/p>\n\u003cp>All three museums will boast new exhibitions, installed during their temporary closure due to the pandemic’s winter surge. At the Asian Art Museum, that includes \u003ci>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/zheng-chongbin-i-look-for-the-sky/\" rel=\"noopener noreferrer\" target=\"_blank\">Zheng Chongbin: State of Oscillation\u003c/a>\u003c/i>, an “ephemeral chamber” of paintings, videos and translucent material in the light-filled Bogart Court; \u003ci>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/after-hope/\" rel=\"noopener noreferrer\" target=\"_blank\">After Hope: Videos of Resistance\u003c/a>\u003c/i>, 50 short videos made by artists across Asia and the Asian diaspora; and \u003ci>\u003ca href=\"https://exhibitions.asianart.org/exhibitions/memento-jayashree-chakravarty-and-lam-tung-pang/\" rel=\"noopener noreferrer\" target=\"_blank\">Memento: Jayashree Chakravarty and Lam Tung Pang\u003c/a>\u003c/i>, an exhibition of two large-scale works by contemporary artists from Kolkata and Hong Kong, respectively. \u003c/p>\n\u003cp>The de Young hosts \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/calder-picasso\" rel=\"noopener noreferrer\" target=\"_blank\">Calder-Picasso\u003c/a>\u003c/i>, a touring exhibition making its first U.S. stop in San Francisco. With over 100 paintings, sculptures, drawings and photographs, \u003ci>Calder-Picasso\u003c/i> centers on the both artists’ occupation with “the void,” representations of space, time and inner emotions. \u003c/p>\n\u003cp>Also new to returning de Young audiences is \u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/nampeyo-and-siky-tki-revival\" rel=\"noopener noreferrer\" target=\"_blank\">Nampeyo and the Sikyátki Revival\u003c/a>\u003c/i>, an installation of pots by the famed Tewa-Hopi potter Nampeyo, alongside additional examples of Hopi pottery and work by four generations of the artist’s descendants.\u003c/p>\n\u003cp>At SFMOMA, the museum reopens with \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/close-to-home/\" rel=\"noopener noreferrer\" target=\"_blank\">Close to Home: Creativity in Crisis\u003c/a>\u003c/i>, featuring newly commissioned work by seven Bay Area artists, and fresh additions to the series \u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/bay-area-walls/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Walls\u003c/a>\u003c/i> by Liz Hernández, Erina Alejo and Adrian L. Burrell. The museum’s \u003ci>New Work\u003c/i> gallery will also feature an installation by \u003ca href=\"https://www.sfmoma.org/exhibition/new-work-charles-gaines/\" rel=\"noopener noreferrer\" target=\"_blank\">Charles Gaines\u003c/a>, including drawings, videos and a musical composition based on Supreme Court trial documents from the Dred Scott Decision of 1857. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The de Young and SFMOMA will offer member preview days prior to their public reopenings, and SFMOMA will be free to the public on March 7. For more details on admission and safety protocols, visit the \u003ca href=\"https://asianart.org/what-to-expect/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>, \u003ca href=\"https://www.famsf.org/press-room/de-young-museum-reopens-calder-picasso\" rel=\"noopener noreferrer\" target=\"_blank\">de Young\u003c/a> and \u003ca href=\"https://www.sfmoma.org/visit/visit-toolkit/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a>’s websites.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dr. Seuss Enterprises Will Shelve Six Books, Citing 'Hurtful' Portrayals",
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"content": "\u003cp>Dr. Seuss Enterprises will cease publishing six of the author’s books — including \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em> and \u003cem>If I Ran the Zoo\u003c/em> — saying they “portray people in ways that are hurtful and wrong.” The books have been criticized for how they depict Asian and Black people.\u003c/p>\n\u003cp>The decision to stop publishing and licensing the books follows a review by a panel of educators and other experts, \u003ca href=\"https://www.seussville.com/statement-from-dr-seuss-enterprises/\">according to Dr. Seuss Enterprises\u003c/a>, the company that controls the author’s books and characters. The other four titles that will be permanently shelved are \u003cem>McElligot’s Pool\u003c/em>,\u003cem> On Beyond Zebra!\u003c/em>,\u003cem> Scrambled Eggs Super!\u003c/em> and \u003cem>The Cat’s Quizzer\u003c/em>.\u003c/p>\n\u003cp>The company says the decision was made last year, in an effort to support “all children and families with messages of hope, inspiration, inclusion, and friendship.”\u003c/p>\n\u003cp>First published in 1937, \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em> is the book that propelled Theodor Seuss Geisel’s career to new heights, as he pivoted from working in advertising to writing children’s books as Dr. Seuss. \u003c/p>\n\u003cp>Several of Geisel’s later books overshadowed \u003cem>Mulberry Street\u003c/em>. But over the years, critics and readers have struggled to reconcile the open-hearted and clever tone of it and other Seuss classics with the small-minded caricatures of minorities they also contain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As NPR’s \u003ca href=\"https://www.npr.org/sections/codeswitch/2019/02/26/695966537/classic-books-are-full-of-problems-why-cant-we-put-them-down\">Code Switch team\u003c/a> has reported:\u003c/p>\n\u003cblockquote>\n\u003cp>“In \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em>, for example, a character described as Chinese has two lines for eyes, carries chopsticks and a bowl of rice, and wears traditional Japanese-style shoes. In \u003cem>If I Ran the Zoo\u003c/em>, two men said to be from Africa are shown shirtless, shoeless and wearing grass skirts as they carry an exotic animal. Outside of his books, the author’s personal legacy has come into question, too — Seuss wrote an entire minstrel show in college and performed as the main character in full blackface.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13893469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-800x600.jpg\" alt=\"Dr. Seuss is seen here in his La Jolla, Calif., home in 1957.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13893469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Seuss is seen here in his La Jolla, Calif., home in 1957. \u003ccite>(Gene Lester/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Seuss Enterprises announced the plan to halt publishing and licensing the six books on Read Across America Day, a celebration of children’s books that has long been linked to Dr. Seuss — the March 2 date is also Geisel’s birthday. But the \u003ca href=\"https://www.nea.org/resource-library/read-across-america-frequently-asked-questions\">National Education Association says\u003c/a> it no longer partners with the Dr. Seuss company for Read Across America, its year-round push for parents and families to read.\u003c/p>\n\u003cp>Discussing Read Across America and the Dr. Seuss books \u003ca href=\"https://www.nea.org/resource-library/read-across-america-frequently-asked-questions\">on its website\u003c/a>, the NEA says, “Students need books that provide both windows and mirrors if we are going to create more readers, writers, and people who feel included and recognized, and who understand that the world is far richer than just their experiences alone.”\u003c/p>\n\u003cp>Beyond today’s announcement, Dr. Seuss Enterprises says, it will do more to promote diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Ceasing sales of these books is only part of our commitment and our broader plan to ensure Dr. Seuss Enterprises’s catalog represents and supports all communities and families,” the company says. \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=Dr.+Seuss+Enterprises+Will+Shelve+6+Books%2C+Citing+%27Hurtful%27+Portrayals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dr. Seuss Enterprises will cease publishing six of the author’s books — including \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em> and \u003cem>If I Ran the Zoo\u003c/em> — saying they “portray people in ways that are hurtful and wrong.” The books have been criticized for how they depict Asian and Black people.\u003c/p>\n\u003cp>The decision to stop publishing and licensing the books follows a review by a panel of educators and other experts, \u003ca href=\"https://www.seussville.com/statement-from-dr-seuss-enterprises/\">according to Dr. Seuss Enterprises\u003c/a>, the company that controls the author’s books and characters. The other four titles that will be permanently shelved are \u003cem>McElligot’s Pool\u003c/em>,\u003cem> On Beyond Zebra!\u003c/em>,\u003cem> Scrambled Eggs Super!\u003c/em> and \u003cem>The Cat’s Quizzer\u003c/em>.\u003c/p>\n\u003cp>The company says the decision was made last year, in an effort to support “all children and families with messages of hope, inspiration, inclusion, and friendship.”\u003c/p>\n\u003cp>First published in 1937, \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em> is the book that propelled Theodor Seuss Geisel’s career to new heights, as he pivoted from working in advertising to writing children’s books as Dr. Seuss. \u003c/p>\n\u003cp>Several of Geisel’s later books overshadowed \u003cem>Mulberry Street\u003c/em>. But over the years, critics and readers have struggled to reconcile the open-hearted and clever tone of it and other Seuss classics with the small-minded caricatures of minorities they also contain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As NPR’s \u003ca href=\"https://www.npr.org/sections/codeswitch/2019/02/26/695966537/classic-books-are-full-of-problems-why-cant-we-put-them-down\">Code Switch team\u003c/a> has reported:\u003c/p>\n\u003cblockquote>\n\u003cp>“In \u003cem>And to Think That I Saw It on Mulberry Street\u003c/em>, for example, a character described as Chinese has two lines for eyes, carries chopsticks and a bowl of rice, and wears traditional Japanese-style shoes. In \u003cem>If I Ran the Zoo\u003c/em>, two men said to be from Africa are shown shirtless, shoeless and wearing grass skirts as they carry an exotic animal. Outside of his books, the author’s personal legacy has come into question, too — Seuss wrote an entire minstrel show in college and performed as the main character in full blackface.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13893469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-800x600.jpg\" alt=\"Dr. Seuss is seen here in his La Jolla, Calif., home in 1957.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13893469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/gettyimages-3240530-b9d079f6ed2c4d1406a9eaff53cc2e558ebbc43a-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Seuss is seen here in his La Jolla, Calif., home in 1957. \u003ccite>(Gene Lester/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dr. Seuss Enterprises announced the plan to halt publishing and licensing the six books on Read Across America Day, a celebration of children’s books that has long been linked to Dr. Seuss — the March 2 date is also Geisel’s birthday. But the \u003ca href=\"https://www.nea.org/resource-library/read-across-america-frequently-asked-questions\">National Education Association says\u003c/a> it no longer partners with the Dr. Seuss company for Read Across America, its year-round push for parents and families to read.\u003c/p>\n\u003cp>Discussing Read Across America and the Dr. Seuss books \u003ca href=\"https://www.nea.org/resource-library/read-across-america-frequently-asked-questions\">on its website\u003c/a>, the NEA says, “Students need books that provide both windows and mirrors if we are going to create more readers, writers, and people who feel included and recognized, and who understand that the world is far richer than just their experiences alone.”\u003c/p>\n\u003cp>Beyond today’s announcement, Dr. Seuss Enterprises says, it will do more to promote diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Ceasing sales of these books is only part of our commitment and our broader plan to ensure Dr. Seuss Enterprises’s catalog represents and supports all communities and families,” the company says. \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=Dr.+Seuss+Enterprises+Will+Shelve+6+Books%2C+Citing+%27Hurtful%27+Portrayals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "On a Positive Note, Pandemic Piano Sales Are Booming",
"headTitle": "On a Positive Note, Pandemic Piano Sales Are Booming | KQED",
"content": "\u003cp>When it comes to impulse purchases, pianos don’t usually make the cut. It’s not just the expense, which can range from several thousand dollars to the low six figures. Unlike acquiring a ukulele, harmonica or guitar, buying a piano often requires expert hauling and rearranging your furniture.\u003c/p>\n\u003cp>After months of intermittent lockdown, people have had plenty of time to consider the implications of procuring a piano, and many are fulfilling a long-held dream. In a development that may help reshape American culture for years to come, buying a piano has become a rite of pandemic passage almost on par with adopting a dog. The instruments are in such demand that showrooms are running low, and people are waiting months for delivery.\u003c/p>\n\u003cp>An unscientific survey of Bay Area piano dealers found that sales are up across the board, with surging demand for new and used instruments, both uprights and grands. In fact, 2020 was a banner year for some dealers, even after losing at least two months of business due to the initial lockdown and extremely limited showroom access ever since.\u003c/p>\n\u003cp>“Right about mid-May we made a U-turn, and since then we’ve done more business than ever in 40 years,” says Jim Callahan, proprietor of Oakland’s \u003ca href=\"https://www.piedmontpiano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont Piano Company\u003c/a>, who also transformed the store’s highly regarded concerts into a well-produced livestream series featuring top artists in jazz, soul and Brazilian music.\u003c/p>\n\u003cfigure id=\"attachment_13893276\" class=\"wp-caption aligncenter\" style=\"max-width: 571px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/omar-sosa.jpg\" alt=\"A man in a white sweater, jewelry and knit hat plays the piano. \" width=\"571\" height=\"368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/omar-sosa.jpg 571w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/omar-sosa-160x103.jpg 160w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Cuban composer Omar Sosa performs for a virtual concert shot at Piedmont Piano Company. \u003ccite>(Scott Price)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s not all good news in the piano biz. Like many showrooms, Piedmont Piano also rents out studio space for practicing—a revenue stream that disappeared with the pandemic—along with a lucrative rental service that provides instruments for concerts, weddings and corporate events. But with the spring pirouette to online sales followed by appointment-only visits for one customer at a time, Callahan has found that the pandemic has unleashed pent-up demand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There are all these people who have buying or learning piano somewhere on their agenda, and all of the sudden they have the time,” Callahan says. “People are stuck at home. We sold three pianos on Saturday. We’re lucky and feel very fortunate.”\u003c/p>\n\u003cp>Benjamin Nieves, showroom manager of \u003ca href=\"https://www.steinway.com/locations/san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Steinway & Sons San Francisco\u003c/a>, has seen a similar surge in sales. He credits the Steinway brand’s iconic status with easing customer anxiety when it comes to purchasing a piano sight unseen after the showroom closed down in March. The store is now open via appointment, but many people prefer to schedule virtual meetings via Zoom. Sales have been so robust that the San Francisco branch sold off the entire inventory that was set aside for its now-decimated rental business. [aside postid='arts_13893043']\u003c/p>\n\u003cp>“It got to a point where rentals filled in the gap when we’d gone through our regular inventory,” Nieves says. “We’re selling a lot of pianos. I see a lot of people going back to basics. I learned to make homemade bread. I’m not saying COVID was great, but it allowed us to concentrate on things at home. Pianos bring families together, and that’s really positive.”\u003c/p>\n\u003cp>The implications of thousands of newly piano-ed households offer a promising post-pandemic note. Judging by the stories of professional musicians who found their first inspiration sounding out tunes on a piano at home, the sales boom could help spark a new generation of artists. And even amid the flood of electronic entertainment, there’s nothing like a piano’s hands-on appeal.\u003c/p>\n\u003cfigure id=\"attachment_13893278\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893278\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/linton-family.jpg\" alt=\"A family of two parents and two adult children pose around their grand piano in a cozy living room.\" width=\"800\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family-768x655.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Since getting their new piano, Clifton Linton, Jenny Linton, David Peña and Christina Peña (front to back) have a new ritual of playing music together after family dinner. \u003ccite>(Clifton Linton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Linton household in Alameda, a vintage Steinway recently purchased from Piedmont Piano Company has become the center of family life. With two adult children back at home, Jenny Linton and her husband Clif, a violinist, have found that trading in an old upright for a fabulous grand piano “changed the interest level for everyone in the house,” she says, noting the family’s new after-dinner ritual.\u003c/p>\n\u003cp>“I sit down to play and my son will yell ‘Music time!’ and our German shepherd will come flying into the living room from wherever she’s been and plop on a couch so she can listen,” Linton continues. “My son and daughter follow her into the room and I have an instant audience. We do a lot of ‘Name that Tune,’ lots of Tin Pan Alley and show tunes. Sometimes I play alone, and this morning I was playing when I realized my son was in the other room singing ‘Feed The Birds’ along with the music in his best Ethel Merman voice.”\u003c/p>\n\u003cp>Demand for pianos has been so strong that orders can take months longer than normal to fulfill. \u003ca href=\"https://www.coltonpiano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Colton Piano Gallery\u003c/a> in San Jose closed for three months during the first phase of the lockdown. Reopening on June 6 with the requisite COVID protocols, the store surpassed 2019 numbers before the end of November. This year, “the biggest challenge is trying to get pianos,” said David Gatt, the store’s owner. “The problem is the factories overseas are running at one-third capacity because of COVID curfews.” [aside postid='arts_13892137']\u003c/p>\n\u003cp>With hundreds of dockworkers out sick from COVID at the ports of Los Angeles and Long Beach, dozens of container ships are backed up waiting to unload their cargo, according to the \u003ca href=\"https://www.wsj.com/articles/port-delays-leave-cargo-ships-stranded-off-u-s-pacific-gateways-11610574485\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wall Street Journal\u003c/em>\u003c/a>. As certain as death and taxes, rising demand and limited supply means that piano prices will be rising. Gatt’s advice? Following that pianistic impulse today will save you money tomorrow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If it’s available and you want it, don’t hesitate,” he said “There’s already a 10% price increase from a German supplier. My digital pianos have been sold out since November. I’ve got 45 on back order.”\u003c/p>\n\n",
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"excerpt": "Bay Area piano shops say they’re selling out of inventory as more families invest in pianos to inspire creativity and improve quality time.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to impulse purchases, pianos don’t usually make the cut. It’s not just the expense, which can range from several thousand dollars to the low six figures. Unlike acquiring a ukulele, harmonica or guitar, buying a piano often requires expert hauling and rearranging your furniture.\u003c/p>\n\u003cp>After months of intermittent lockdown, people have had plenty of time to consider the implications of procuring a piano, and many are fulfilling a long-held dream. In a development that may help reshape American culture for years to come, buying a piano has become a rite of pandemic passage almost on par with adopting a dog. The instruments are in such demand that showrooms are running low, and people are waiting months for delivery.\u003c/p>\n\u003cp>An unscientific survey of Bay Area piano dealers found that sales are up across the board, with surging demand for new and used instruments, both uprights and grands. In fact, 2020 was a banner year for some dealers, even after losing at least two months of business due to the initial lockdown and extremely limited showroom access ever since.\u003c/p>\n\u003cp>“Right about mid-May we made a U-turn, and since then we’ve done more business than ever in 40 years,” says Jim Callahan, proprietor of Oakland’s \u003ca href=\"https://www.piedmontpiano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont Piano Company\u003c/a>, who also transformed the store’s highly regarded concerts into a well-produced livestream series featuring top artists in jazz, soul and Brazilian music.\u003c/p>\n\u003cfigure id=\"attachment_13893276\" class=\"wp-caption aligncenter\" style=\"max-width: 571px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/omar-sosa.jpg\" alt=\"A man in a white sweater, jewelry and knit hat plays the piano. \" width=\"571\" height=\"368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/omar-sosa.jpg 571w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/omar-sosa-160x103.jpg 160w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Cuban composer Omar Sosa performs for a virtual concert shot at Piedmont Piano Company. \u003ccite>(Scott Price)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s not all good news in the piano biz. Like many showrooms, Piedmont Piano also rents out studio space for practicing—a revenue stream that disappeared with the pandemic—along with a lucrative rental service that provides instruments for concerts, weddings and corporate events. But with the spring pirouette to online sales followed by appointment-only visits for one customer at a time, Callahan has found that the pandemic has unleashed pent-up demand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are all these people who have buying or learning piano somewhere on their agenda, and all of the sudden they have the time,” Callahan says. “People are stuck at home. We sold three pianos on Saturday. We’re lucky and feel very fortunate.”\u003c/p>\n\u003cp>Benjamin Nieves, showroom manager of \u003ca href=\"https://www.steinway.com/locations/san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Steinway & Sons San Francisco\u003c/a>, has seen a similar surge in sales. He credits the Steinway brand’s iconic status with easing customer anxiety when it comes to purchasing a piano sight unseen after the showroom closed down in March. The store is now open via appointment, but many people prefer to schedule virtual meetings via Zoom. Sales have been so robust that the San Francisco branch sold off the entire inventory that was set aside for its now-decimated rental business. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It got to a point where rentals filled in the gap when we’d gone through our regular inventory,” Nieves says. “We’re selling a lot of pianos. I see a lot of people going back to basics. I learned to make homemade bread. I’m not saying COVID was great, but it allowed us to concentrate on things at home. Pianos bring families together, and that’s really positive.”\u003c/p>\n\u003cp>The implications of thousands of newly piano-ed households offer a promising post-pandemic note. Judging by the stories of professional musicians who found their first inspiration sounding out tunes on a piano at home, the sales boom could help spark a new generation of artists. And even amid the flood of electronic entertainment, there’s nothing like a piano’s hands-on appeal.\u003c/p>\n\u003cfigure id=\"attachment_13893278\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893278\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/linton-family.jpg\" alt=\"A family of two parents and two adult children pose around their grand piano in a cozy living room.\" width=\"800\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family-768x655.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Since getting their new piano, Clifton Linton, Jenny Linton, David Peña and Christina Peña (front to back) have a new ritual of playing music together after family dinner. \u003ccite>(Clifton Linton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Linton household in Alameda, a vintage Steinway recently purchased from Piedmont Piano Company has become the center of family life. With two adult children back at home, Jenny Linton and her husband Clif, a violinist, have found that trading in an old upright for a fabulous grand piano “changed the interest level for everyone in the house,” she says, noting the family’s new after-dinner ritual.\u003c/p>\n\u003cp>“I sit down to play and my son will yell ‘Music time!’ and our German shepherd will come flying into the living room from wherever she’s been and plop on a couch so she can listen,” Linton continues. “My son and daughter follow her into the room and I have an instant audience. We do a lot of ‘Name that Tune,’ lots of Tin Pan Alley and show tunes. Sometimes I play alone, and this morning I was playing when I realized my son was in the other room singing ‘Feed The Birds’ along with the music in his best Ethel Merman voice.”\u003c/p>\n\u003cp>Demand for pianos has been so strong that orders can take months longer than normal to fulfill. \u003ca href=\"https://www.coltonpiano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Colton Piano Gallery\u003c/a> in San Jose closed for three months during the first phase of the lockdown. Reopening on June 6 with the requisite COVID protocols, the store surpassed 2019 numbers before the end of November. This year, “the biggest challenge is trying to get pianos,” said David Gatt, the store’s owner. “The problem is the factories overseas are running at one-third capacity because of COVID curfews.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With hundreds of dockworkers out sick from COVID at the ports of Los Angeles and Long Beach, dozens of container ships are backed up waiting to unload their cargo, according to the \u003ca href=\"https://www.wsj.com/articles/port-delays-leave-cargo-ships-stranded-off-u-s-pacific-gateways-11610574485\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wall Street Journal\u003c/em>\u003c/a>. As certain as death and taxes, rising demand and limited supply means that piano prices will be rising. Gatt’s advice? Following that pianistic impulse today will save you money tomorrow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If it’s available and you want it, don’t hesitate,” he said “There’s already a 10% price increase from a German supplier. My digital pianos have been sold out since November. I’ve got 45 on back order.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books",
"headTitle": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books | KQED",
"content": "\u003cp>On Tuesday, Feb. 23, a group of about 50 people gathered outside City Lights Books in San Francisco at an impromptu memorial for Lawrence Ferlinghetti, who \u003ca href=\"https://www.kqed.org/arts/13893125/lawrence-ferlinghetti-beat-poet-and-small-press-publisher-dies-at-101\" rel=\"noopener noreferrer\" target=\"_blank\">died on Monday\u003c/a> at age 101. \u003c/p>\n\u003cp>The crowd ranged from those close to Ferlinghetti—like Jack Hirschman, one of the famed poet and publisher’s oldest friends—to readers touched by his work. But all shared the impulse to gather and pay tribute to the City Lights founder in Jack Kerouac Alley—outside the bookstore where Ferlinghetti made his home, in the neighborhood and city that he loved.\u003c/p>\n\u003cp>While readings, anecdotes and testimonials to Ferlinghetti’s \u003ca href=\"https://www.kqed.org/news/10447892/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">indomitable spirit\u003c/a> filled the sidewalk and alley, KQED photographer Beth LaBerge captured the scene in photos.\u003c/p>\n\u003cfigure id=\"attachment_13893247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Agneta Falk reads a poem while Jack Hirschman listens during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agneta Falk reads a poem during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1465w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Poet Charlie Getter reads from Lawrence Ferlinghetti's book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Charlie Getter reads from Lawrence Ferlinghetti’s book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg\" alt=\"Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"600\" height=\"900\" class=\"size-medium wp-image-13893237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1280w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A group of about 50 people gathered Tuesday night to pay tribute to the legendary poet and publisher.",
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"description": "A group of about 50 people gathered Tuesday night to pay tribute to the legendary poet and publisher.",
"title": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books | KQED",
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"headline": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, Feb. 23, a group of about 50 people gathered outside City Lights Books in San Francisco at an impromptu memorial for Lawrence Ferlinghetti, who \u003ca href=\"https://www.kqed.org/arts/13893125/lawrence-ferlinghetti-beat-poet-and-small-press-publisher-dies-at-101\" rel=\"noopener noreferrer\" target=\"_blank\">died on Monday\u003c/a> at age 101. \u003c/p>\n\u003cp>The crowd ranged from those close to Ferlinghetti—like Jack Hirschman, one of the famed poet and publisher’s oldest friends—to readers touched by his work. But all shared the impulse to gather and pay tribute to the City Lights founder in Jack Kerouac Alley—outside the bookstore where Ferlinghetti made his home, in the neighborhood and city that he loved.\u003c/p>\n\u003cp>While readings, anecdotes and testimonials to Ferlinghetti’s \u003ca href=\"https://www.kqed.org/news/10447892/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">indomitable spirit\u003c/a> filled the sidewalk and alley, KQED photographer Beth LaBerge captured the scene in photos.\u003c/p>\n\u003cfigure id=\"attachment_13893247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Agneta Falk reads a poem while Jack Hirschman listens during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agneta Falk reads a poem during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1465w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Poet Charlie Getter reads from Lawrence Ferlinghetti's book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Charlie Getter reads from Lawrence Ferlinghetti’s book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg\" alt=\"Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"600\" height=\"900\" class=\"size-medium wp-image-13893237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1280w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lawrence Ferlinghetti, Beat Poet And Small Press Publisher, Dies At 101",
"headTitle": "Lawrence Ferlinghetti, Beat Poet And Small Press Publisher, Dies At 101 | KQED",
"content": "\u003cp>Lawrence Ferlinghetti has died in San Francisco. He was 101. Ferlinghetti is probably best known for three things: his Beat poetry, his San Francisco bookstore and small press, and his defense of the First Amendment in a famous court case. \u003c/p>\n\u003cp>[aside postID=\"forum_2010101870098\"]His most famous work is a 1958 collection of poetry called \u003cem>A Coney Island of the Mind\u003c/em>. In it, \u003ca href=\"http://www.poetryfoundation.org/poem/171590\" target=\"_blank\" rel=\"noopener noreferrer\">he compares\u003c/a> the horrors depicted in Francisco Goya’s paintings of the Napoleonic Wars to scenes of post-World War II America.\u003c/p>\n\u003cp>\u003cem>A Coney Island of the Mind\u003c/em> was translated into nine languages and sold more than a million copies. Despite his popularity, Ferlinghetti was never considered on par with some of the other Beat writers he called his friends — Jack Kerouac, Gregory Corso and Allen Ginsberg.\u003c/p>\n\u003cp>Even though Ferlinghetti was raised in New York, he said he never met those East Coast writers until he moved to San Francisco and opened his bookstore, \u003ca href=\"http://www.citylights.com/\" rel=\"noopener noreferrer\" target=\"_blank\">City Lights\u003c/a>.\u003c/p>\n\u003cp>“A bookstore is a natural place for poets to hang out,” Ferlinghetti said in a 1994 interview. “And they started showing up there right from the beginning.”\u003c/p>\n\u003cfigure id=\"attachment_13893133\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13893133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inside Ferlinghetti’s office at City Lights. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City Lights became a magnet for West Coast intellectuals, and later a tourist destination.\u003c/p>\n\u003cp>Ferlinghetti also started a small press called City Lights Books. In the fall of 1956, he published a little 75-cent paperback, the first edition of \u003ca href=\"http://www.poets.org/poetsorg/poem/howl-parts-i-ii\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Howl\u003c/em>\u003c/a> by Allen Ginsberg.\u003c/p>\n\u003cp>\u003cem>Howl\u003c/em> was a new type of poetry that gave voice to an undercurrent of dissatisfaction in Eisenhower’s America. It became an anthem for the nascent counterculture.\u003c/p>\n\u003cp>“Before Allen Ginsberg’s \u003cem>Howl\u003c/em>, the state of poetry in America is a little bit like the way it is today: poetry about poetry,” Ferlinghetti said. “\u003cem>Howl\u003c/em> knocked the sides out of things. Just the way rock music in the ’60s knocked the sides out of the old music world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Howl\u003c/em> included passages of homosexual imagery, and Ferlinghetti was arrested in 1957 on charges of publishing obscene material. At the end of a long federal trial, the poem was found to have redeeming social importance, and therefore not obscene.\u003c/p>\n\u003cp>Literary critic Gerald Nicosia says Ferlinghetti’s two greatest accomplishments were fighting censorship, and inaugurating a small press revolution.\u003c/p>\n\u003cp>“Up until that point, getting published was a difficult thing,” Nicosia says. “If you were a radical, an innovative writer, you would be rebuffed by New York, by mainstream publishers. By creating this press out of nothing — City Lights Press — he said: Look, you don’t need these big publishers in New York. You can do it, and you can get the books out, and not only that, you can make waves.”\u003c/p>\n\u003cp>https://youtu.be/dr3G1Agw0xY\u003c/p>\n\u003cp>Ferlinghetti was always an advocate for the underdog, in part because of his own life story. He was born on March 24, 1919, in Yonkers. His father died shortly before he was he was born, and his mother was committed to a psychiatric hospital shortly after. He was raised by an aunt, and then by foster parents.\u003c/p>\n\u003cp>Ferlinghetti enlisted in the Navy after Pearl Harbor, and served as an officer at Normandy on D-Day and at Nagasaki after the atomic bomb. That experience turned him into a lifelong pacifist.\u003c/p>\n\u003cp>After the war, he got a master’s degree at Columbia University, and a doctorate at the Sorbonne. He began writing poetry about America in the 1950s.\u003c/p>\n\u003cp>Ferlinghetti began his career at a revolutionary time in arts and music. In 1994, he still believed art could make a difference. “I really believe that art is capable of the total transformation of the world, and of life itself,” he said. “And nothing less is really acceptable. So I mean if art is going to have any excuse for — beyond being a leisure class play thing — it has to transform life itself.”\u003c/p>\n\u003cp>Through more than half a century of writing and publishing, Lawrence Ferlinghetti did.\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His most famous work is a 1958 collection of poetry called \u003cem>A Coney Island of the Mind\u003c/em>. In it, \u003ca href=\"http://www.poetryfoundation.org/poem/171590\" target=\"_blank\" rel=\"noopener noreferrer\">he compares\u003c/a> the horrors depicted in Francisco Goya’s paintings of the Napoleonic Wars to scenes of post-World War II America.\u003c/p>\n\u003cp>\u003cem>A Coney Island of the Mind\u003c/em> was translated into nine languages and sold more than a million copies. Despite his popularity, Ferlinghetti was never considered on par with some of the other Beat writers he called his friends — Jack Kerouac, Gregory Corso and Allen Ginsberg.\u003c/p>\n\u003cp>Even though Ferlinghetti was raised in New York, he said he never met those East Coast writers until he moved to San Francisco and opened his bookstore, \u003ca href=\"http://www.citylights.com/\" rel=\"noopener noreferrer\" target=\"_blank\">City Lights\u003c/a>.\u003c/p>\n\u003cp>“A bookstore is a natural place for poets to hang out,” Ferlinghetti said in a 1994 interview. “And they started showing up there right from the beginning.”\u003c/p>\n\u003cfigure id=\"attachment_13893133\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13893133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Ferlinghetti-office-1920x1440-1-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inside Ferlinghetti’s office at City Lights. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>City Lights became a magnet for West Coast intellectuals, and later a tourist destination.\u003c/p>\n\u003cp>Ferlinghetti also started a small press called City Lights Books. In the fall of 1956, he published a little 75-cent paperback, the first edition of \u003ca href=\"http://www.poets.org/poetsorg/poem/howl-parts-i-ii\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Howl\u003c/em>\u003c/a> by Allen Ginsberg.\u003c/p>\n\u003cp>\u003cem>Howl\u003c/em> was a new type of poetry that gave voice to an undercurrent of dissatisfaction in Eisenhower’s America. It became an anthem for the nascent counterculture.\u003c/p>\n\u003cp>“Before Allen Ginsberg’s \u003cem>Howl\u003c/em>, the state of poetry in America is a little bit like the way it is today: poetry about poetry,” Ferlinghetti said. “\u003cem>Howl\u003c/em> knocked the sides out of things. Just the way rock music in the ’60s knocked the sides out of the old music world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Howl\u003c/em> included passages of homosexual imagery, and Ferlinghetti was arrested in 1957 on charges of publishing obscene material. At the end of a long federal trial, the poem was found to have redeeming social importance, and therefore not obscene.\u003c/p>\n\u003cp>Literary critic Gerald Nicosia says Ferlinghetti’s two greatest accomplishments were fighting censorship, and inaugurating a small press revolution.\u003c/p>\n\u003cp>“Up until that point, getting published was a difficult thing,” Nicosia says. “If you were a radical, an innovative writer, you would be rebuffed by New York, by mainstream publishers. By creating this press out of nothing — City Lights Press — he said: Look, you don’t need these big publishers in New York. You can do it, and you can get the books out, and not only that, you can make waves.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dr3G1Agw0xY'\n title='//www.youtube.com/embed/dr3G1Agw0xY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ferlinghetti was always an advocate for the underdog, in part because of his own life story. He was born on March 24, 1919, in Yonkers. His father died shortly before he was he was born, and his mother was committed to a psychiatric hospital shortly after. He was raised by an aunt, and then by foster parents.\u003c/p>\n\u003cp>Ferlinghetti enlisted in the Navy after Pearl Harbor, and served as an officer at Normandy on D-Day and at Nagasaki after the atomic bomb. That experience turned him into a lifelong pacifist.\u003c/p>\n\u003cp>After the war, he got a master’s degree at Columbia University, and a doctorate at the Sorbonne. He began writing poetry about America in the 1950s.\u003c/p>\n\u003cp>Ferlinghetti began his career at a revolutionary time in arts and music. In 1994, he still believed art could make a difference. “I really believe that art is capable of the total transformation of the world, and of life itself,” he said. “And nothing less is really acceptable. So I mean if art is going to have any excuse for — beyond being a leisure class play thing — it has to transform life itself.”\u003c/p>\n\u003cp>Through more than half a century of writing and publishing, Lawrence Ferlinghetti did.\u003c/p>\n\u003cp>\u003ci>Copyright 2021 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed and City Administrator Carmen Chu announced the appointment Thursday of Vallie Brown to the role of director of its main agency for nonprofit arts and culture funding, \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Brown comes to the job as a strong ally of Mayor Breed’s.\u003c/p>\n\u003cp>The two women go back a long way, first meeting in the early 2000s when Breed ran San Francisco’s \u003ca href=\"https://www.sfartscommission.org/profile-submissions/african-american-art-and-culture-complex\" target=\"_blank\" rel=\"noopener noreferrer\">African American Arts and Culture Complex\u003c/a> and Brown was a community activist in the Haight. When Breed was a city supervisor, Brown was one of her aides. When Breed became Mayor in 2018, Brown took over the District 5 supervisor seat, which she lost in 2019 to a progressive, Dean Preston.\u003c/p>\n\u003cp>A former sculptor who specialized in metalwork, Brown said she won the job because of her many years in City Hall and her background fighting for equity for arts programming in underserved neighborhoods.\u003c/p>\n\u003cp>“I think my experience speaks for itself,” Brown told KQED in a video interview shortly after her appointment was announced. “As we know, the city administrator and the mayor are your bosses, and so they have to feel like they can put someone in there that they can trust and that also can push their agenda. And I know Mayor Breed has been very vocal about equity as her agenda.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Vallie Brown is a dedicated public servant, with a passion for community and the arts in San Francisco,” said Mayor Breed, in a statement. “Her extensive experience and steady hand will serve San Francisco’s arts community well as we navigate the challenges created by COVID-19 and work to recover as a city.”\u003c/p>\n\u003cp>Brown succeeds interim director Jason Blackwell in her new position with Grants for the Arts. Brown said Blackwell will return to his role as associate director as soon as she begins her new job, which she expects to do as early as next week.\u003c/p>\n\u003cp>Grants for the Arts, which has been around for 60 years, provided $12.9 million in general operating support grants in 2020, and increased funding for small- and medium-sized arts and culture groups by 28% over the previous year.\u003c/p>\n\u003cp>“Vallie Brown is a new woman leader in the arts who knows how to work within the political system of the city and the budget of the city,” said longtime former director of Grants for the Arts, Kary Schulman, in a phone interview. “In these difficult budget times, the big task for Brown will be to secure the revenue stream for the arts—the hotel tax—because hotels have been struggling during the pandemic.”\u003c/p>\n\u003cp>(Schulman referred to the passing of \u003ca href=\"https://sfelections.sfgov.org/sites/default/files/Documents/Voting/2018/N18_VIP_EN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Proposition E\u003c/a> in 2018, which dedicates 1.5% of the base hotel tax—a 14% tax levied on hotel stays in the city—to support arts and culture programs in San Francisco. More about that \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>Brown said she plans to continue to focus on equity for community arts groups in her new role, especially since so many of them have struggled to survive in recent years—not just because of the COVID-19 pandemic, but also because of the high cost of living in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When you have a festival that is getting $10,000 or $15,000 from the city to put on their event, and you think, ‘OK, we’re going to cut them 10%,’ that could actually completely make it where they can’t put it on,” said Brown. “So we really have to look at equity first. We have to collaborate with the community arts. And we have to listen to them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed and City Administrator Carmen Chu announced the appointment Thursday of Vallie Brown to the role of director of its main agency for nonprofit arts and culture funding, \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Brown comes to the job as a strong ally of Mayor Breed’s.\u003c/p>\n\u003cp>The two women go back a long way, first meeting in the early 2000s when Breed ran San Francisco’s \u003ca href=\"https://www.sfartscommission.org/profile-submissions/african-american-art-and-culture-complex\" target=\"_blank\" rel=\"noopener noreferrer\">African American Arts and Culture Complex\u003c/a> and Brown was a community activist in the Haight. When Breed was a city supervisor, Brown was one of her aides. When Breed became Mayor in 2018, Brown took over the District 5 supervisor seat, which she lost in 2019 to a progressive, Dean Preston.\u003c/p>\n\u003cp>A former sculptor who specialized in metalwork, Brown said she won the job because of her many years in City Hall and her background fighting for equity for arts programming in underserved neighborhoods.\u003c/p>\n\u003cp>“I think my experience speaks for itself,” Brown told KQED in a video interview shortly after her appointment was announced. “As we know, the city administrator and the mayor are your bosses, and so they have to feel like they can put someone in there that they can trust and that also can push their agenda. And I know Mayor Breed has been very vocal about equity as her agenda.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Vallie Brown is a dedicated public servant, with a passion for community and the arts in San Francisco,” said Mayor Breed, in a statement. “Her extensive experience and steady hand will serve San Francisco’s arts community well as we navigate the challenges created by COVID-19 and work to recover as a city.”\u003c/p>\n\u003cp>Brown succeeds interim director Jason Blackwell in her new position with Grants for the Arts. Brown said Blackwell will return to his role as associate director as soon as she begins her new job, which she expects to do as early as next week.\u003c/p>\n\u003cp>Grants for the Arts, which has been around for 60 years, provided $12.9 million in general operating support grants in 2020, and increased funding for small- and medium-sized arts and culture groups by 28% over the previous year.\u003c/p>\n\u003cp>“Vallie Brown is a new woman leader in the arts who knows how to work within the political system of the city and the budget of the city,” said longtime former director of Grants for the Arts, Kary Schulman, in a phone interview. “In these difficult budget times, the big task for Brown will be to secure the revenue stream for the arts—the hotel tax—because hotels have been struggling during the pandemic.”\u003c/p>\n\u003cp>(Schulman referred to the passing of \u003ca href=\"https://sfelections.sfgov.org/sites/default/files/Documents/Voting/2018/N18_VIP_EN.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Proposition E\u003c/a> in 2018, which dedicates 1.5% of the base hotel tax—a 14% tax levied on hotel stays in the city—to support arts and culture programs in San Francisco. More about that \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>Brown said she plans to continue to focus on equity for community arts groups in her new role, especially since so many of them have struggled to survive in recent years—not just because of the COVID-19 pandemic, but also because of the high cost of living in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When you have a festival that is getting $10,000 or $15,000 from the city to put on their event, and you think, ‘OK, we’re going to cut them 10%,’ that could actually completely make it where they can’t put it on,” said Brown. “So we really have to look at equity first. We have to collaborate with the community arts. And we have to listen to them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chick Corea, Jazz Fusion Pioneer, Dies of Cancer At 79",
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"content": "\u003cp>The keyboardist, composer and bandleader Chick Corea — one of the most revered figures in contemporary jazz, but whose work spanned fusion to classical — died on Feb. 9 at age 79. \u003c/p>\n\u003cp>Dan Muse from Chick Corea Productions confirmed his death to NPR on Thursday afternoon. Corea’s team also reported his death on \u003ca href=\"https://www.facebook.com/chickcorea/posts/10158422599898924\">social media\u003c/a>, saying that he died from “a rare form of cancer which was only discovered very recently.” No other details about his illness and death were shared.\u003c/p>\n\u003cp>Always curious, Corea created work that limned many musical currents. Born June 12, 1941, in Chelsea, Mass., he grew up playing piano and drums and listening to bebop, as well as classical music. After moving to New York as a young man, he played with Cuban percussionist Mongo Santamaria and played with Miles Davis at the dawn of jazz fusion — performing on electric piano on such albums as \u003cem>In a Silent Way\u003c/em>, \u003cem>Bitches Brew\u003c/em> and \u003cem>Miles Davis at the Fillmore\u003c/em>. His own band Return to Forever (with Stanley Clarke on bass, vocalist Flora Purim, drummer Airto Moreira and reeds player Joe Farrell) was an important marker for fusion music.\u003c/p>\n\u003cp>As well as being named a \u003ca href=\"https://www.arts.gov/honors/jazz/chick-corea\">Jazz Master\u003c/a> by the National Endowment for the Arts in 2006, Corea won \u003ca href=\"https://www.grammy.com/grammys/artists/chick-corea/9341\">23 Grammys\u003c/a> (as well as being nominated 67 times). In 2018, he told \u003ca href=\"https://www.npr.org/2018/10/31/662519569/chick-corea-back-in-boston\">\u003cem>Jazz Night in America\u003c/em>\u003c/a> about what he believed his role as an artist was: “We have a mission to go out there and be an antidote to war, and all of the dark side of what happens on Planet Earth. We’re the ones that go in and remind people about their creativity.”\u003c/p>\n\u003cp>The social media announcement of his death included words from Corea himself: “I want to thank all of those along my journey who have helped keep the music fires burning bright. It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It’s not only that the world needs more artists, it’s also just a lot of fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And to my amazing musician friends who have been like family to me as long as I’ve known you: It has been a blessing and an honor learning from and playing with all of you. My mission has always been to bring the joy of creating anywhere I could, and to have done so with all the artists that I admire so dearly — this has been the richness of my life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/15IHNYq6stw\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=Chick+Corea%2C+Jazz+Fusion+Pioneer%2C+Has+Died+Of+Cancer+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The keyboardist, composer and bandleader Chick Corea — one of the most revered figures in contemporary jazz, but whose work spanned fusion to classical — died on Feb. 9 at age 79. \u003c/p>\n\u003cp>Dan Muse from Chick Corea Productions confirmed his death to NPR on Thursday afternoon. Corea’s team also reported his death on \u003ca href=\"https://www.facebook.com/chickcorea/posts/10158422599898924\">social media\u003c/a>, saying that he died from “a rare form of cancer which was only discovered very recently.” No other details about his illness and death were shared.\u003c/p>\n\u003cp>Always curious, Corea created work that limned many musical currents. Born June 12, 1941, in Chelsea, Mass., he grew up playing piano and drums and listening to bebop, as well as classical music. After moving to New York as a young man, he played with Cuban percussionist Mongo Santamaria and played with Miles Davis at the dawn of jazz fusion — performing on electric piano on such albums as \u003cem>In a Silent Way\u003c/em>, \u003cem>Bitches Brew\u003c/em> and \u003cem>Miles Davis at the Fillmore\u003c/em>. His own band Return to Forever (with Stanley Clarke on bass, vocalist Flora Purim, drummer Airto Moreira and reeds player Joe Farrell) was an important marker for fusion music.\u003c/p>\n\u003cp>As well as being named a \u003ca href=\"https://www.arts.gov/honors/jazz/chick-corea\">Jazz Master\u003c/a> by the National Endowment for the Arts in 2006, Corea won \u003ca href=\"https://www.grammy.com/grammys/artists/chick-corea/9341\">23 Grammys\u003c/a> (as well as being nominated 67 times). In 2018, he told \u003ca href=\"https://www.npr.org/2018/10/31/662519569/chick-corea-back-in-boston\">\u003cem>Jazz Night in America\u003c/em>\u003c/a> about what he believed his role as an artist was: “We have a mission to go out there and be an antidote to war, and all of the dark side of what happens on Planet Earth. We’re the ones that go in and remind people about their creativity.”\u003c/p>\n\u003cp>The social media announcement of his death included words from Corea himself: “I want to thank all of those along my journey who have helped keep the music fires burning bright. It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It’s not only that the world needs more artists, it’s also just a lot of fun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And to my amazing musician friends who have been like family to me as long as I’ve known you: It has been a blessing and an honor learning from and playing with all of you. My mission has always been to bring the joy of creating anywhere I could, and to have done so with all the artists that I admire so dearly — this has been the richness of my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/15IHNYq6stw'\n title='//www.youtube.com/embed/15IHNYq6stw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Chick+Corea%2C+Jazz+Fusion+Pioneer%2C+Has+Died+Of+Cancer+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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