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"title": "Phil Spector, Famed Music Producer and Convicted Murderer, Dies at 81",
"headTitle": "Phil Spector, Famed Music Producer and Convicted Murderer, Dies at 81 | KQED",
"content": "\u003cp>Phil Spector, the eccentric and revolutionary music producer who transformed rock music with his “Wall of Sound” method and who later was convicted of murder, has died. He was 81.\u003c/p>\n\u003cp>California state prison officials said he died Saturday of natural causes at a hospital.\u003c/p>\n\u003cp>Spector was convicted of murdering actress Lana Clarkson in 2003 at his castle-like mansion on the edge of Los Angeles. After a trial in 2009, he was sentenced to 19 years to life.\u003c/p>\n\u003cp>While most sources give Spector’s birth date as 1940, it was listed as 1939 in court documents following his arrest. His lawyer subsequently confirmed that date to The Associated Press.\u003c/p>\n\u003cp>Clarkson, star of “Barbarian Queen” and other B-movies, was found shot to death in the foyer of Spector’s mansion in the hills overlooking Alhambra, a modest suburban town on the edge of Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Until the actress’ death, which Spector maintained was an “accidental suicide,” few residents even knew the mansion belonged to the reclusive producer, who spent his remaining years in a prison hospital east of Stockton.\u003c/p>\n\u003cp>Decades before, Spector had been hailed as a visionary for channeling Wagnerian ambition into the three-minute song, creating the “Wall of Sound” that merged spirited vocal harmonies with lavish orchestral arrangements to produce such pop monuments as “Da Doo Ron Ron,” “Be My Baby” and “He’s a Rebel.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13891395\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg\" alt=\"\" width=\"689\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg 689w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be-160x163.jpg 160w\" sizes=\"(max-width: 689px) 100vw, 689px\">\u003c/p>\n\u003cp>He was the rare self-conscious artist in rock’s early years and cultivated an image of mystery and power with his dark shades and impassive expression.\u003c/p>\n\u003cp>Tom Wolfe declared him the “first tycoon of teen.” Bruce Springsteen and Brian Wilson openly replicated his grandiose recording techniques and wide-eyed romanticism, and John Lennon called him “the greatest record producer ever.”\u003c/p>\n\u003cp>The secret to his sound: an overdubbed onslaught of instruments, vocals and sound effects that changed the way pop records were recorded. He called the result, “Little symphonies for the kids.”\u003c/p>\n\u003cp>By his mid-20s his “little symphonies” had resulted in nearly two dozen hit singles and made him a millionaire. “You’ve Lost That Lovin’ Feeling,” the operatic Righteous Brothers ballad which topped the charts in 1965, has been tabulated as the song most played on radio and television — counting the many cover versions — in the 20th century.\u003c/p>\n\u003cp>But thanks in part to the arrival of the Beatles, his chart success would soon fade. When “River Deep-Mountain High,” an aptly-named 1966 release that featured Tina Turner, failed to catch on, Spector shut down his record label and withdrew from the business for three years. He would go on to produce the Beatles and Lennon among others, but he was now serving the artists, instead of the other way around.\u003c/p>\n\u003cp>In 1969, Spector was called in to salvage the Beatles’ “Let It Be” album, a troubled “back to basics” production marked by dissension within the band. Although Lennon praised Spector’s work, bandmate Paul McCartney was enraged, especially when Spector added strings and a choir to McCartney’s “The Long and Winding Road.” Years later, McCartney would oversee a remastered “Let it Be,” removing Spector’s contributions.\u003c/p>\n\u003cp>A documentary of the making of Lennon’s 1971 “Imagine” album showed the ex-Beatle clearly in charge, prodding Spector over a backing vocal, a line none of Spector’s early artists would have dared cross.\u003c/p>\n\u003cp>Spector worked on George Harrison’s acclaimed post-Beatles triple album, “All Things Must Pass,” co-produced Lennon’s “Imagine,” and the less successful “Some Time in New York City,” which included Spector’s picture over a caption that read, “To Know Him is to Love Him.”\u003c/p>\n\u003cp>Spector also had a memorable film role, a cameo as a drug dealer in “Easy Rider.” The producer himself was played by Al Pacino in a 2013 HBO movie.\u003c/p>\n\u003cp>The volume, and violence, of Spector’s music reflected a dark side he could barely contain even at his peak. He was imperious, temperamental and dangerous, remembered bitterly by Darlene Love, Ronnie Spector and others who worked with him.\u003c/p>\n\u003cp>Years of stories of his waving guns at recording artists in the studio and threatening women would come back to haunt him after Clarkson’s death.\u003c/p>\n\u003cp>According to witnesses she had agreed, somewhat reluctantly, to accompany him home from the Sunset Strip’s House of Blues in West Hollywood, where she worked Shortly after their arrival in Alhambra in the pre-dawn hours of Feb. 3, 2003, a chauffeur reported Spector came out of the house holding a gun, blood on his hands, and told him, “I think I killed somebody.”\u003c/p>\n\u003cp>He would later tell friends Clarkson had shot herself. The case was fraught with mystery, and it took authorities a year to file charges. In the meantime, Spector remained free on $1 million bail.\u003c/p>\n\u003cp>When he was finally indicted for murder, he lashed out at authorities, angrily telling reporters: “The actions of the Hitler-like DA and his storm trooper henchmen are reprehensible, unconscionable and despicable.”\u003c/p>\n\u003cp>As a defendant, his eccentricity took center stage. He would arrive in court for pretrial hearings in theatrical outfits, usually featuring high-heeled boots, frock coats and wildly styled wigs. He arrived at one hearing in a chauffeur-driven stretch Hummer.\u003c/p>\n\u003cp>Once the 2007 trial began, however, he toned down his attire. It ended in a 10-2 deadlock leaning toward conviction. His defense had argued that the actress, despondent about her fading career, shot herself through the mouth. A retrial got underway in October 2008.\u003c/p>\n\u003cfigure id=\"attachment_13891394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891394\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg\" alt=\"In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \u003ccite>(CDCR via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harvey Phillip Spector, in his mid-60s when he was charged with murder, had been born on Dec. 26, 1939, in New York City’s borough of the Bronx. Bernard Spector, his father, was an ironworker. His mother, Bertha, was a seamstress. In 1947, Spector’s father committed suicide because of family indebtedness, an event that would shape his son’s life in many ways.\u003c/p>\n\u003cp>Four years later, Spector’s mother moved the family to Los Angeles, where Phil attended Fairfax High School, located in a largely Jewish neighborhood on the edge of Hollywood. For decades the school has been a source of future musical talent. At Fairfax, Spector performed in talent shows and formed a group called the Teddy Bears with friends.\u003c/p>\n\u003cp>He was reserved and insecure, but his musical abilities were obvious. He had perfect pitch and easily learned to play several instruments. He was just 17 when his group recorded its first hit single, a romantic ballad written and produced by Spector that would become a pop classic: “To Know Him is to Love Him,” was inspired by the inscription on his father’s tombstone.\u003c/p>\n\u003cp>A short, skinny kid with big dreams and growing demons, Spector went on to attend the University of California, Los Angeles for a year before dropping out to return to New York. He briefly considered becoming a French interpreter at the United Nations before falling in with the musicians at New York’s celebrated Brill Building. The Broadway edifice was then at the heart of popular music’s Tin Pan Alley, where writers, composers, singers and musicians turned out hit songs.\u003c/p>\n\u003cp>He began working with star composers Jerry Leiber and Mike Stoller, who had met at Fairfax High a few years before Spector arrived. Ultimately, he found his niche in producing. During this period he also co-wrote the hit song, “Spanish Harlem,” with Ben E. King, and played lead guitar on the Drifters’ “On Broadway.”\u003c/p>\n\u003cp>“I had come back to New York from California where there were all these green lawns and trees, and there was just this poverty and decay in Harlem,” he would recall later. “The song was an expression of hope and faith in the young people of Harlem … that there would be better times ahead.”\u003c/p>\n\u003cp>For a time he had his own production company, Philles Records, with partner Lester Silles, where he developed his signature sound. He assembled such respected studio musicians as arranger Jack Nitzsche, guitarist Tommy Tedesco, pianist Leon Russell and drummer Hal Blaine, and gave early breaks to Glen Campbell, Sonny Bono and Bono’s future wife, Cher.\u003c/p>\n\u003cp>In the early 1960s, he had hit after hit and one notable flop: the album “A Christmas Gift to You,” released, tragically, on Nov. 22, 1963, the day President Kennedy was assassinated, the worst possible time for such a joyous record. “A Christmas Gift,” featuring the Ronettes singing “Frosty the Snowman” and Love’s version of “White Christmas,” is now considered a classic and a perennial radio favorite during the holiday season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13891396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg\" alt=\"\" width=\"640\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-800x769.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-768x739.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000.jpg 1386w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Spector’s domestic life, along with his career, eventually came apart. After his first marriage, to Annette Merar, broke up, Ronettes leader singer Ronnie Bennett became his girlfriend and muse. He married her in 1968 and they adopted three children. But she divorced him after six years, claiming in a memoir that he held her prisoner in their mansion, where she said he kept a gold coffin in the basement and told her he would kill her and put her in it if she ever tried to leave him.\u003c/p>\n\u003cp>When the Ronettes were inducted into the Rock and Roll Hall of Fame in 2007, Spector sent along his congratulations. But in an acceptance speech by his ex-wife, she never mentioned him while thanking numerous other people.\u003c/p>\n\u003cp>Darlene Love also feuded with him, accusing Spector of failing to credit her for her vocals on “He’s a Rebel” and other songs, but she did praise him when inducted into the Hall.\u003c/p>\n\u003cp>Spector himself became a Hall member in 1989. As his marriages deteriorated, recording artists also began to quit working with Spector and musical styles passed him by.\u003c/p>\n\u003cp>He preferred singles to albums, calling the latter, “Two hits and 10 pieces of junk.” He initially refused to record his music in multichannel stereo, claiming the process damaged the sound. A Spector box set retrospective was called “Back to Mono.”\u003c/p>\n\u003cp>By the mid-1970s, Spector had largely retreated from the music business. He would emerge occasionally to work on special projects, including Leonard Cohen’s album, “Death of a Ladies’ Man” and The Ramones’ “End of the Century.” Both were marred by reports of Spector’s instability.\u003c/p>\n\u003cp>In 1973, Lennon worked on an album of rock ‘n roll oldies with Spector, only to have Spector disappear with the tapes. The finished work, “Rock ‘n’ Roll,” didn’t come out until 1975.\u003c/p>\n\u003cp>In 1982 Spector married Janis Lynn Zavala and the couple had twins, Nicole and Phillip Jr. The boy died at age 10 of leukemia.\u003c/p>\n\u003cp>Six months before his first murder trial began, Spector married Rachelle Short, a 26-year-old singer and actress who accompanied him to court every day. He filed for divorce in 2016.\u003c/p>\n\u003cp>In a 2005 court deposition, he testified that he had been on medication for manic depression for eight years.\u003c/p>\n\u003cp>“No sleep, depression, mood changes, mood swings, hard to live with, hard to concentrate, just hard — a hard time getting through life,” he said. “I’ve been called a genius and I think a genius is not there all the time and has borderline insanity.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Linda Deutsch is a retired special correspondent for The Associated Press. The Spector murder trial was one of many sensational cases she covered during her 48-year career as a Los Angeles-based trial reporter.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Phil Spector, the eccentric and revolutionary music producer who transformed rock music with his “Wall of Sound” method and who later was convicted of murder, has died. He was 81.\u003c/p>\n\u003cp>California state prison officials said he died Saturday of natural causes at a hospital.\u003c/p>\n\u003cp>Spector was convicted of murdering actress Lana Clarkson in 2003 at his castle-like mansion on the edge of Los Angeles. After a trial in 2009, he was sentenced to 19 years to life.\u003c/p>\n\u003cp>While most sources give Spector’s birth date as 1940, it was listed as 1939 in court documents following his arrest. His lawyer subsequently confirmed that date to The Associated Press.\u003c/p>\n\u003cp>Clarkson, star of “Barbarian Queen” and other B-movies, was found shot to death in the foyer of Spector’s mansion in the hills overlooking Alhambra, a modest suburban town on the edge of Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Until the actress’ death, which Spector maintained was an “accidental suicide,” few residents even knew the mansion belonged to the reclusive producer, who spent his remaining years in a prison hospital east of Stockton.\u003c/p>\n\u003cp>Decades before, Spector had been hailed as a visionary for channeling Wagnerian ambition into the three-minute song, creating the “Wall of Sound” that merged spirited vocal harmonies with lavish orchestral arrangements to produce such pop monuments as “Da Doo Ron Ron,” “Be My Baby” and “He’s a Rebel.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13891395\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg\" alt=\"\" width=\"689\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg 689w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be-160x163.jpg 160w\" sizes=\"(max-width: 689px) 100vw, 689px\">\u003c/p>\n\u003cp>He was the rare self-conscious artist in rock’s early years and cultivated an image of mystery and power with his dark shades and impassive expression.\u003c/p>\n\u003cp>Tom Wolfe declared him the “first tycoon of teen.” Bruce Springsteen and Brian Wilson openly replicated his grandiose recording techniques and wide-eyed romanticism, and John Lennon called him “the greatest record producer ever.”\u003c/p>\n\u003cp>The secret to his sound: an overdubbed onslaught of instruments, vocals and sound effects that changed the way pop records were recorded. He called the result, “Little symphonies for the kids.”\u003c/p>\n\u003cp>By his mid-20s his “little symphonies” had resulted in nearly two dozen hit singles and made him a millionaire. “You’ve Lost That Lovin’ Feeling,” the operatic Righteous Brothers ballad which topped the charts in 1965, has been tabulated as the song most played on radio and television — counting the many cover versions — in the 20th century.\u003c/p>\n\u003cp>But thanks in part to the arrival of the Beatles, his chart success would soon fade. When “River Deep-Mountain High,” an aptly-named 1966 release that featured Tina Turner, failed to catch on, Spector shut down his record label and withdrew from the business for three years. He would go on to produce the Beatles and Lennon among others, but he was now serving the artists, instead of the other way around.\u003c/p>\n\u003cp>In 1969, Spector was called in to salvage the Beatles’ “Let It Be” album, a troubled “back to basics” production marked by dissension within the band. Although Lennon praised Spector’s work, bandmate Paul McCartney was enraged, especially when Spector added strings and a choir to McCartney’s “The Long and Winding Road.” Years later, McCartney would oversee a remastered “Let it Be,” removing Spector’s contributions.\u003c/p>\n\u003cp>A documentary of the making of Lennon’s 1971 “Imagine” album showed the ex-Beatle clearly in charge, prodding Spector over a backing vocal, a line none of Spector’s early artists would have dared cross.\u003c/p>\n\u003cp>Spector worked on George Harrison’s acclaimed post-Beatles triple album, “All Things Must Pass,” co-produced Lennon’s “Imagine,” and the less successful “Some Time in New York City,” which included Spector’s picture over a caption that read, “To Know Him is to Love Him.”\u003c/p>\n\u003cp>Spector also had a memorable film role, a cameo as a drug dealer in “Easy Rider.” The producer himself was played by Al Pacino in a 2013 HBO movie.\u003c/p>\n\u003cp>The volume, and violence, of Spector’s music reflected a dark side he could barely contain even at his peak. He was imperious, temperamental and dangerous, remembered bitterly by Darlene Love, Ronnie Spector and others who worked with him.\u003c/p>\n\u003cp>Years of stories of his waving guns at recording artists in the studio and threatening women would come back to haunt him after Clarkson’s death.\u003c/p>\n\u003cp>According to witnesses she had agreed, somewhat reluctantly, to accompany him home from the Sunset Strip’s House of Blues in West Hollywood, where she worked Shortly after their arrival in Alhambra in the pre-dawn hours of Feb. 3, 2003, a chauffeur reported Spector came out of the house holding a gun, blood on his hands, and told him, “I think I killed somebody.”\u003c/p>\n\u003cp>He would later tell friends Clarkson had shot herself. The case was fraught with mystery, and it took authorities a year to file charges. In the meantime, Spector remained free on $1 million bail.\u003c/p>\n\u003cp>When he was finally indicted for murder, he lashed out at authorities, angrily telling reporters: “The actions of the Hitler-like DA and his storm trooper henchmen are reprehensible, unconscionable and despicable.”\u003c/p>\n\u003cp>As a defendant, his eccentricity took center stage. He would arrive in court for pretrial hearings in theatrical outfits, usually featuring high-heeled boots, frock coats and wildly styled wigs. He arrived at one hearing in a chauffeur-driven stretch Hummer.\u003c/p>\n\u003cp>Once the 2007 trial began, however, he toned down his attire. It ended in a 10-2 deadlock leaning toward conviction. His defense had argued that the actress, despondent about her fading career, shot herself through the mouth. A retrial got underway in October 2008.\u003c/p>\n\u003cfigure id=\"attachment_13891394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891394\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg\" alt=\"In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \u003ccite>(CDCR via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harvey Phillip Spector, in his mid-60s when he was charged with murder, had been born on Dec. 26, 1939, in New York City’s borough of the Bronx. Bernard Spector, his father, was an ironworker. His mother, Bertha, was a seamstress. In 1947, Spector’s father committed suicide because of family indebtedness, an event that would shape his son’s life in many ways.\u003c/p>\n\u003cp>Four years later, Spector’s mother moved the family to Los Angeles, where Phil attended Fairfax High School, located in a largely Jewish neighborhood on the edge of Hollywood. For decades the school has been a source of future musical talent. At Fairfax, Spector performed in talent shows and formed a group called the Teddy Bears with friends.\u003c/p>\n\u003cp>He was reserved and insecure, but his musical abilities were obvious. He had perfect pitch and easily learned to play several instruments. He was just 17 when his group recorded its first hit single, a romantic ballad written and produced by Spector that would become a pop classic: “To Know Him is to Love Him,” was inspired by the inscription on his father’s tombstone.\u003c/p>\n\u003cp>A short, skinny kid with big dreams and growing demons, Spector went on to attend the University of California, Los Angeles for a year before dropping out to return to New York. He briefly considered becoming a French interpreter at the United Nations before falling in with the musicians at New York’s celebrated Brill Building. The Broadway edifice was then at the heart of popular music’s Tin Pan Alley, where writers, composers, singers and musicians turned out hit songs.\u003c/p>\n\u003cp>He began working with star composers Jerry Leiber and Mike Stoller, who had met at Fairfax High a few years before Spector arrived. Ultimately, he found his niche in producing. During this period he also co-wrote the hit song, “Spanish Harlem,” with Ben E. King, and played lead guitar on the Drifters’ “On Broadway.”\u003c/p>\n\u003cp>“I had come back to New York from California where there were all these green lawns and trees, and there was just this poverty and decay in Harlem,” he would recall later. “The song was an expression of hope and faith in the young people of Harlem … that there would be better times ahead.”\u003c/p>\n\u003cp>For a time he had his own production company, Philles Records, with partner Lester Silles, where he developed his signature sound. He assembled such respected studio musicians as arranger Jack Nitzsche, guitarist Tommy Tedesco, pianist Leon Russell and drummer Hal Blaine, and gave early breaks to Glen Campbell, Sonny Bono and Bono’s future wife, Cher.\u003c/p>\n\u003cp>In the early 1960s, he had hit after hit and one notable flop: the album “A Christmas Gift to You,” released, tragically, on Nov. 22, 1963, the day President Kennedy was assassinated, the worst possible time for such a joyous record. “A Christmas Gift,” featuring the Ronettes singing “Frosty the Snowman” and Love’s version of “White Christmas,” is now considered a classic and a perennial radio favorite during the holiday season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13891396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg\" alt=\"\" width=\"640\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-800x769.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-768x739.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000.jpg 1386w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Spector’s domestic life, along with his career, eventually came apart. After his first marriage, to Annette Merar, broke up, Ronettes leader singer Ronnie Bennett became his girlfriend and muse. He married her in 1968 and they adopted three children. But she divorced him after six years, claiming in a memoir that he held her prisoner in their mansion, where she said he kept a gold coffin in the basement and told her he would kill her and put her in it if she ever tried to leave him.\u003c/p>\n\u003cp>When the Ronettes were inducted into the Rock and Roll Hall of Fame in 2007, Spector sent along his congratulations. But in an acceptance speech by his ex-wife, she never mentioned him while thanking numerous other people.\u003c/p>\n\u003cp>Darlene Love also feuded with him, accusing Spector of failing to credit her for her vocals on “He’s a Rebel” and other songs, but she did praise him when inducted into the Hall.\u003c/p>\n\u003cp>Spector himself became a Hall member in 1989. As his marriages deteriorated, recording artists also began to quit working with Spector and musical styles passed him by.\u003c/p>\n\u003cp>He preferred singles to albums, calling the latter, “Two hits and 10 pieces of junk.” He initially refused to record his music in multichannel stereo, claiming the process damaged the sound. A Spector box set retrospective was called “Back to Mono.”\u003c/p>\n\u003cp>By the mid-1970s, Spector had largely retreated from the music business. He would emerge occasionally to work on special projects, including Leonard Cohen’s album, “Death of a Ladies’ Man” and The Ramones’ “End of the Century.” Both were marred by reports of Spector’s instability.\u003c/p>\n\u003cp>In 1973, Lennon worked on an album of rock ‘n roll oldies with Spector, only to have Spector disappear with the tapes. The finished work, “Rock ‘n’ Roll,” didn’t come out until 1975.\u003c/p>\n\u003cp>In 1982 Spector married Janis Lynn Zavala and the couple had twins, Nicole and Phillip Jr. The boy died at age 10 of leukemia.\u003c/p>\n\u003cp>Six months before his first murder trial began, Spector married Rachelle Short, a 26-year-old singer and actress who accompanied him to court every day. He filed for divorce in 2016.\u003c/p>\n\u003cp>In a 2005 court deposition, he testified that he had been on medication for manic depression for eight years.\u003c/p>\n\u003cp>“No sleep, depression, mood changes, mood swings, hard to live with, hard to concentrate, just hard — a hard time getting through life,” he said. “I’ve been called a genius and I think a genius is not there all the time and has borderline insanity.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Linda Deutsch is a retired special correspondent for The Associated Press. The Spector murder trial was one of many sensational cases she covered during her 48-year career as a Los Angeles-based trial reporter.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tongo Eisen-Martin Selected as San Francisco's Poet Laureate",
"headTitle": "Tongo Eisen-Martin Selected as San Francisco’s Poet Laureate | KQED",
"content": "\u003cp>Tongo Eisen-Martin has been chosen as the eighth San Francisco Poet Laureate, Mayor London Breed announced Friday. Nominated by a selection committee made up of nine city officials, prior Poets Laureate, and members of the Bay Area literary community, Eisen-Martin will succeed Kim Shuck in the position. \u003c/p>\n\u003cp>In her announcement on Friday morning, Mayor Breed highlighted not only Eisen-Martin’s literary talents but his long history of giving back to San Francisco’s young people. “I’ve had the pleasure of working with Tongo when he was a teaching artist at the African American Arts and Culture complex, and I’ve seen his remarkable ability to spur creativity in youth and inspire them to find their own voice,” said Mayor Breed. “His work on racial justice and equity, along with his commitment to promoting social and cultural change, comes at such a critical time for our city and our country.”\u003c/p>\n\u003cp>Born and raised in San Francisco, Eisen-Martin is the founder of Black Freighter Press. His 2017 book \u003cem>\u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=reviews\" rel=\"noopener noreferrer\" target=\"_blank\">Heaven Is All Goodbyes\u003c/a>\u003c/em> (City Lights) received the 2018 California Book Award for poetry, a 2018 American Book Award, and was shortlisted for the Griffin Poetry Prize. (In \u003ca href=\"https://www.kqed.org/arts/13806398/poems-for-the-end-of-the-world\" rel=\"noopener noreferrer\" target=\"_blank\">a review\u003c/a> of \u003cem>Heaven is All Goodbyes\u003c/em> in 2017, KQED hailed Eisen-Martin’s cadences as “polyphonic, gritty, and unexpectedly fragile, like jazz.”)[aside postID='arts_13806398']\u003c/p>\n\u003cp>“San Francisco has legends too fearless for me to count myself as one of them, but I am from this collection of thousands and thousands of participants in revolutionary history and culture,” Eisen-Martin said in his inaugural address. “What the people here taught me is that unity is the only thing, and that individualism as it is practiced, codified, and romanticized… at its core is about selective humanization.” \u003c/p>\n\u003cp>Tongo Eisen-Martin described himself and his work as “an absolute product of every nook and cranny of San Francisco,” adding that “as deep into the various communities of the city as our poets have already brought the craft, I want to push even further into places where poetry has not yet permeated.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eisen-Martin has certainly pushed the boundaries of that permeation throughout his career, utilizing art and poetry in his education and movement work. His curriculum on the extrajudicial killing of Black people, \u003cem>We Charge Genocide Again!\u003c/em> at the Institute for Research in African American Studies at Columbia University, has been taught across the nation, and he has taught at various detention centers throughout the United States.\u003c/p>\n\u003cp>In his time as Poet Laureate, Eisen-Martin intends to organize poetry reading circles in Sunnydale, Bayview-Hunters Point, and the Tenderloin, as well as seek out and foster San Francisco artists from marginalized communities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eisen-Martin’s as-yet-titled second book in the City Lights Pocket Poet series will be released in the fall of 2021.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tongo Eisen-Martin has been chosen as the eighth San Francisco Poet Laureate, Mayor London Breed announced Friday. Nominated by a selection committee made up of nine city officials, prior Poets Laureate, and members of the Bay Area literary community, Eisen-Martin will succeed Kim Shuck in the position. \u003c/p>\n\u003cp>In her announcement on Friday morning, Mayor Breed highlighted not only Eisen-Martin’s literary talents but his long history of giving back to San Francisco’s young people. “I’ve had the pleasure of working with Tongo when he was a teaching artist at the African American Arts and Culture complex, and I’ve seen his remarkable ability to spur creativity in youth and inspire them to find their own voice,” said Mayor Breed. “His work on racial justice and equity, along with his commitment to promoting social and cultural change, comes at such a critical time for our city and our country.”\u003c/p>\n\u003cp>Born and raised in San Francisco, Eisen-Martin is the founder of Black Freighter Press. His 2017 book \u003cem>\u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=reviews\" rel=\"noopener noreferrer\" target=\"_blank\">Heaven Is All Goodbyes\u003c/a>\u003c/em> (City Lights) received the 2018 California Book Award for poetry, a 2018 American Book Award, and was shortlisted for the Griffin Poetry Prize. (In \u003ca href=\"https://www.kqed.org/arts/13806398/poems-for-the-end-of-the-world\" rel=\"noopener noreferrer\" target=\"_blank\">a review\u003c/a> of \u003cem>Heaven is All Goodbyes\u003c/em> in 2017, KQED hailed Eisen-Martin’s cadences as “polyphonic, gritty, and unexpectedly fragile, like jazz.”)\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“San Francisco has legends too fearless for me to count myself as one of them, but I am from this collection of thousands and thousands of participants in revolutionary history and culture,” Eisen-Martin said in his inaugural address. “What the people here taught me is that unity is the only thing, and that individualism as it is practiced, codified, and romanticized… at its core is about selective humanization.” \u003c/p>\n\u003cp>Tongo Eisen-Martin described himself and his work as “an absolute product of every nook and cranny of San Francisco,” adding that “as deep into the various communities of the city as our poets have already brought the craft, I want to push even further into places where poetry has not yet permeated.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eisen-Martin has certainly pushed the boundaries of that permeation throughout his career, utilizing art and poetry in his education and movement work. His curriculum on the extrajudicial killing of Black people, \u003cem>We Charge Genocide Again!\u003c/em> at the Institute for Research in African American Studies at Columbia University, has been taught across the nation, and he has taught at various detention centers throughout the United States.\u003c/p>\n\u003cp>In his time as Poet Laureate, Eisen-Martin intends to organize poetry reading circles in Sunnydale, Bayview-Hunters Point, and the Tenderloin, as well as seek out and foster San Francisco artists from marginalized communities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eisen-Martin’s as-yet-titled second book in the City Lights Pocket Poet series will be released in the fall of 2021.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-archivist-and-the-activist-behind-a-new-book-about-angela-davis",
"title": "The Archivist and the Activist: Behind a New Book About Angela Davis",
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"headTitle": "The Archivist and the Activist: Behind a New Book About Angela Davis | KQED",
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"content": "\u003cfigure id=\"attachment_13891129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg\" alt=\"Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 as they pose for a photo while holding a copy of the book, 'Seize the Time.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 while holding a copy of the book ‘Seize the Time.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>rchivist Lisbet Tellefsen collects Black cultural artifacts like kids used to collect baseball cards back in the day.\u003c/p>\n\u003cp>Lucky for us, she shares her collection with the world. Dozens of pieces from her personal archive are housed at museums across the country, including the Oakland Musuem of California and the Smithsonian National Museum of African American History and Culture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The archives of the now-defunct publication that she co-founded in the late ’80s,\u003ca href=\"https://archives.yale.edu/subjects/27815\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Aché\u003c/em>\u003c/a>, which focused on stories of Black lesbians and featured the work of Audre Lorde, Pat Parker, and Barbara Smith, are housed at Yale. Tellefsen provided archival research for Stanley Nelson’s documentary \u003cem>Black Panthers: Vanguard of the Revolution \u003c/em>and Shola Lynch’s \u003cem>Free Angela and All Political Prisoners\u003c/em>.\u003c/p>\n\u003cp>Five years ago, when I wrote about the history of the\u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Panther school, \u003c/a>Tellefsen sent me photos of Rosa Parks and Maya Angelou inside the school’s former site in East Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And now Tellefsen has included over 100 pieces from her archive of the famed scholar and prison abolitionist Angela Davis in the 192-page book \u003ci>\u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo68160170.html\" target=\"_blank\" rel=\"noopener noreferrer\">Seize The Time\u003c/a>\u003c/i> (published September 2020 by the University of Chicago Press; $45). With a mix of archival photos, contemporary art, essays and interviews, \u003cem>Seize the Time\u003c/em> paints a picture of Davis’ life—at a time when her work couldn’t be more important.\u003c/p>\n\u003cfigure id=\"attachment_13891128\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg\" alt=\"A collage of Angela Davis posters from the Lisbet Tellefsen collection\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-2048x1406.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1920x1318.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collage of Angela Davis posters from the Lisbet Tellefsen collection. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> centerpiece of the \u003cem>Seize the Time\u003c/em> is a timeline of Davis’ life, starting with her childhood in the racially segregated “\u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/06/197342590/remembering-birminghams-dynamite-hill-neighborhood\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamite Hill\u003c/a>” neighborhood of Birmingham, Alabama, a place that earned its nickname from white people using explosives to attack Black residents. Along the way, Tellefsen fits many of the details of Davis’ life into the timeline’s 12-page spread—her professorship at UCLA, her involvement with the Black Panthers, her 16-month incarceration and acquittal, her work in Eastern Bloc countries and other political activism—ending with Davis’ induction into the National Women’s Hall of Fame in Sceneca Falls, New York, in 2019.\u003c/p>\n\u003cp>The book is both a piece of history and a piece of art. Posters of Davis’ face are accompanied by messages written in German, French and Spanish, as well as mugshots and courtroom renderings. And in a bridge to the new generation, images from artist Sadie Barnette’s project \u003cem>Dear 1968\u003c/em>—her “\u003ca href=\"https://www.sadiebarnette.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">My Father’s FBI Files\u003c/a>\u003cem>“\u003c/em> piece—are included.\u003c/p>\n\u003cp>Some of the same archival items are currently showing in the exhibit that Tellefsen co-curated, \u003ca style=\"color: #41a62a\" href=\"https://www.glbthistory.org/angela-davis\" target=\"_blank\" rel=\"noopener noreferrer\">called \u003cem>OUTspoken,\u003c/em>\u003c/a> hosted virtually by the GLBT Historical Society.\u003c/p>\n\u003cfigure id=\"attachment_13891131\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg\" alt=\"Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1536x1132.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4.jpg 1686w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artistic aspect of the book fits. “I think that I feel the most free when I’m in the presence of great art with others,” says Davis, in a transcribed conversation with the Oakland Museum of California’s senior curator René de Guzman. “I think art teaches us how to feel free, how to feel free even as we are compelled to live under conditions of un-freedom.”\u003c/p>\n\u003cp>One of the book’s essays comes from historian and professor Gerry Beegan (who co-edited the book with Donna Gustafson), focusing on the role graphic arts and mixed media played in the spread of Davis’ story. There’s also a piece from writer and professor Nicole R. Fleetwood about the significance of Davis’ “fearless activism” in spite of the oppressive forces Black women face in America.\u003c/p>\n\u003cfigure id=\"attachment_13891132\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg\" alt=\"A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970\" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1594x2048.jpg 1594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1920x2466.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-scaled.jpg 1993w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was writing for an audience of one,” says Tellefsen, who despite knowing Davis for years says she was still very mindful to properly represent her. At one point, she tells me, she asked Davis if she preferred to be labeled as queer or lesbian. “She’s like, ‘I don’t mind it,'” Tellefsen recalls her saying, “I’d prefer anti-racist, anti-capitalist.”\u003c/p>\n\u003cp>Tellefsen had to get over the notion of “protecting Davis’ privacy,” as once was the code. Now it was about showing Davis in bold brightness, as suggested by the cover—a profile image created by Felix Bertrán of Davis peering to her right, her stop-sign red face and black afro standing out against a blue background.\u003c/p>\n\u003cp>“When I see that front cover,” says Tellefsen, “I see the linkage between Cuba, communism, graphic design, Angela Davis—you know—the era, and where graphics were at that time.”\u003c/p>\n\u003cp>Meanwhile, I was caught by the image on the back of the book: a contorted map showing the connections between some well-known freedom fighters, elected officials, and liberation groups. It’s a piece called “Black Liberation and Socialism in America” (2017), created by \u003ca href=\"https://hyperallergic.com/370076/in-la-50-artists-respond-to-the-black-panthers-legacy/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith Walsh\u003c/a>.\u003c/p>\n\u003cp>Tellefsen says that although it’s a little light on mentioning women involved in liberation efforts, she’s a fan of the piece for its attempt to show all the connections, like a mind map or a puzzle.\u003c/p>\n\u003cfigure id=\"attachment_13891163\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg\" alt=\"“Black Liberation and Socialism in America” by Keith Walsh \" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1020x1272.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-768x958.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1232x1536.jpg 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm.jpg 1400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Black Liberation and Socialism in America’ by Keith Walsh. \u003ccite>(Keith Walsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ever classically trained as an archivist, Tellefsen “flirted with internships,” studied under the tutelage of a mentor from the UC Berkeley School of Theology, and is part of the Society of American Archivists. But she says she’s developed her own methods of maintaining and organizing her materials.\u003c/p>\n\u003cp>She has notepads showing the evolution of her file-naming conventions. She’s used the Dewey Decimal system and digital memory cards. And she explains that her evolving methods of organization are coupled with tangible “external artifacts,” and the practice of piecing them together to tell life stories.\u003c/p>\n\u003cp>When it came to Angela Davis’ story, Tellefsen says, “Once I began that process of reconstruction, it was like the little kid in me doing a 50,000-piece jigsaw puzzle.”\u003c/p>\n\u003cfigure id=\"attachment_13891133\" class=\"wp-caption alignnone\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg\" alt=\"Free Angela, Free Women by Faith Ringgold (1971)\" width=\"546\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen-160x234.jpg 160w\" sizes=\"auto, (max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">‘Free Angela, Free Women’ by Faith Ringgold (1971). \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If everything goes according to plan, Tellefsen tells me, the finished “puzzle” will not only be this “exhibition catalog” of a book, but an actual exhibition shown at \u003ca href=\"http://www.zimmerlimuseum.rutgers.edu/voorhees-galleries/angela-davis-%E2%80%94-seize-time#.YAC-yJNKjAM\" target=\"_blank\" rel=\"noopener noreferrer\">Rutgers University’s Zimmerli Art Museum\u003c/a> in the fall. After that, fingers crossed, it will come to the Oakland Musuem of California.\u003c/p>\n\u003cp>“To me,” says Tellefsen, “that’s the big moment: when this comes home to Oakland. That will be the crowning achievement for me.”\u003c/p>\n\u003cp>\u003cem>Seize the Time\u003c/em> is being published just as Davis experiences a resurgence, brought on by conversations about abolishing the current criminal justice system. In June of last year, Davis \u003ca href=\"https://www.kqed.org/news/11825274/updates-bay-area-honors-juneteenth-on-the-streets\" target=\"_blank\" rel=\"noopener noreferrer\">joined a rally\u003c/a> to shut down the Port of Oakland in the wake of the killings of George Floyd and Breonna Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13891134\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg\" alt='\"Sister: You Are Welcome Here\" reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, Leviathan.' width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1411x2048.jpg 1411w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1920x2786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-scaled.jpg 1764w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sister: You Are Welcome Here” reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, ‘Leviathan.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And as a speaker, Davis, who celebrates her 77th birthday on Jan. 26, is still very active. She’s scheduled to be in discussion with \u003ca href=\"https://www.eventbrite.com/e/a-call-to-action-then-and-now-dr-martin-luther-king-jr-celebration-tickets-133768744917\">Alicia Garza\u003c/a> on Monday, Jan. 18, as a part of the Madam Walker Legacy Center and University of Indiana’s virtual MLK Day event.\u003c/p>\n\u003cp>“It’s like something has aligned, where her words are being heard in the mainstream. Not the ‘radical fringe,’ or whatever they call her outside of the activist and academic bubble,” says Tellefsen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“When she got out of jail, and said, ‘You freed me, now it’s time to free all political prisoners and advocate for social justice, anticapitalist, antiracist practices,’ she never wavered once.”\u003c/p>\n\n",
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"excerpt": "With extensive contributions to 'Seize the Time,' archivist Lisbet Tellefsen is preserving the culture.",
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"headline": "The Archivist and the Activist: Behind a New Book About Angela Davis",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13891129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg\" alt=\"Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 as they pose for a photo while holding a copy of the book, 'Seize the Time.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/2020_0910_Lisbet_Angela-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisbet Tellefsen and Angela Davis wear masks to protect from COVID-19 while holding a copy of the book ‘Seize the Time.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>rchivist Lisbet Tellefsen collects Black cultural artifacts like kids used to collect baseball cards back in the day.\u003c/p>\n\u003cp>Lucky for us, she shares her collection with the world. Dozens of pieces from her personal archive are housed at museums across the country, including the Oakland Musuem of California and the Smithsonian National Museum of African American History and Culture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The archives of the now-defunct publication that she co-founded in the late ’80s,\u003ca href=\"https://archives.yale.edu/subjects/27815\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Aché\u003c/em>\u003c/a>, which focused on stories of Black lesbians and featured the work of Audre Lorde, Pat Parker, and Barbara Smith, are housed at Yale. Tellefsen provided archival research for Stanley Nelson’s documentary \u003cem>Black Panthers: Vanguard of the Revolution \u003c/em>and Shola Lynch’s \u003cem>Free Angela and All Political Prisoners\u003c/em>.\u003c/p>\n\u003cp>Five years ago, when I wrote about the history of the\u003ca href=\"https://archive.curbed.com/2016/6/29/12010106/black-panther-school-mova-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Panther school, \u003c/a>Tellefsen sent me photos of Rosa Parks and Maya Angelou inside the school’s former site in East Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now Tellefsen has included over 100 pieces from her archive of the famed scholar and prison abolitionist Angela Davis in the 192-page book \u003ci>\u003ca href=\"https://press.uchicago.edu/ucp/books/book/distributed/A/bo68160170.html\" target=\"_blank\" rel=\"noopener noreferrer\">Seize The Time\u003c/a>\u003c/i> (published September 2020 by the University of Chicago Press; $45). With a mix of archival photos, contemporary art, essays and interviews, \u003cem>Seize the Time\u003c/em> paints a picture of Davis’ life—at a time when her work couldn’t be more important.\u003c/p>\n\u003cfigure id=\"attachment_13891128\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg\" alt=\"A collage of Angela Davis posters from the Lisbet Tellefsen collection\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1536x1054.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-2048x1406.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/AD_postercollage-1920x1318.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collage of Angela Davis posters from the Lisbet Tellefsen collection. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> centerpiece of the \u003cem>Seize the Time\u003c/em> is a timeline of Davis’ life, starting with her childhood in the racially segregated “\u003ca href=\"https://www.npr.org/sections/codeswitch/2013/07/06/197342590/remembering-birminghams-dynamite-hill-neighborhood\" target=\"_blank\" rel=\"noopener noreferrer\">Dynamite Hill\u003c/a>” neighborhood of Birmingham, Alabama, a place that earned its nickname from white people using explosives to attack Black residents. Along the way, Tellefsen fits many of the details of Davis’ life into the timeline’s 12-page spread—her professorship at UCLA, her involvement with the Black Panthers, her 16-month incarceration and acquittal, her work in Eastern Bloc countries and other political activism—ending with Davis’ induction into the National Women’s Hall of Fame in Sceneca Falls, New York, in 2019.\u003c/p>\n\u003cp>The book is both a piece of history and a piece of art. Posters of Davis’ face are accompanied by messages written in German, French and Spanish, as well as mugshots and courtroom renderings. And in a bridge to the new generation, images from artist Sadie Barnette’s project \u003cem>Dear 1968\u003c/em>—her “\u003ca href=\"https://www.sadiebarnette.com/projects/\" target=\"_blank\" rel=\"noopener noreferrer\">My Father’s FBI Files\u003c/a>\u003cem>“\u003c/em> piece—are included.\u003c/p>\n\u003cp>Some of the same archival items are currently showing in the exhibit that Tellefsen co-curated, \u003ca style=\"color: #41a62a\" href=\"https://www.glbthistory.org/angela-davis\" target=\"_blank\" rel=\"noopener noreferrer\">called \u003cem>OUTspoken,\u003c/em>\u003c/a> hosted virtually by the GLBT Historical Society.\u003c/p>\n\u003cfigure id=\"attachment_13891131\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891131\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg\" alt=\"Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4-1536x1132.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1022_4.jpg 1686w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three photos of Angela Davis: the first as a child, the second as a professor at UCLA and the third is taken at the time of her arrest. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artistic aspect of the book fits. “I think that I feel the most free when I’m in the presence of great art with others,” says Davis, in a transcribed conversation with the Oakland Museum of California’s senior curator René de Guzman. “I think art teaches us how to feel free, how to feel free even as we are compelled to live under conditions of un-freedom.”\u003c/p>\n\u003cp>One of the book’s essays comes from historian and professor Gerry Beegan (who co-edited the book with Donna Gustafson), focusing on the role graphic arts and mixed media played in the spread of Davis’ story. There’s also a piece from writer and professor Nicole R. Fleetwood about the significance of Davis’ “fearless activism” in spite of the oppressive forces Black women face in America.\u003c/p>\n\u003cfigure id=\"attachment_13891132\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg\" alt=\"A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970\" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1020x1310.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-768x986.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1196x1536.jpg 1196w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1594x2048.jpg 1594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-1920x2466.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_1120_BlackNews_a-scaled.jpg 1993w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A black and white cartoon illustration of Angela Davis on the cover of Black News in 1970. \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was writing for an audience of one,” says Tellefsen, who despite knowing Davis for years says she was still very mindful to properly represent her. At one point, she tells me, she asked Davis if she preferred to be labeled as queer or lesbian. “She’s like, ‘I don’t mind it,'” Tellefsen recalls her saying, “I’d prefer anti-racist, anti-capitalist.”\u003c/p>\n\u003cp>Tellefsen had to get over the notion of “protecting Davis’ privacy,” as once was the code. Now it was about showing Davis in bold brightness, as suggested by the cover—a profile image created by Felix Bertrán of Davis peering to her right, her stop-sign red face and black afro standing out against a blue background.\u003c/p>\n\u003cp>“When I see that front cover,” says Tellefsen, “I see the linkage between Cuba, communism, graphic design, Angela Davis—you know—the era, and where graphics were at that time.”\u003c/p>\n\u003cp>Meanwhile, I was caught by the image on the back of the book: a contorted map showing the connections between some well-known freedom fighters, elected officials, and liberation groups. It’s a piece called “Black Liberation and Socialism in America” (2017), created by \u003ca href=\"https://hyperallergic.com/370076/in-la-50-artists-respond-to-the-black-panthers-legacy/\" target=\"_blank\" rel=\"noopener noreferrer\">Keith Walsh\u003c/a>.\u003c/p>\n\u003cp>Tellefsen says that although it’s a little light on mentioning women involved in liberation efforts, she’s a fan of the piece for its attempt to show all the connections, like a mind map or a puzzle.\u003c/p>\n\u003cfigure id=\"attachment_13891163\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg\" alt=\"“Black Liberation and Socialism in America” by Keith Walsh \" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1020x1272.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-768x958.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm-1232x1536.jpg 1232w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/KeithWalshBlkLibandSocial2017sm.jpg 1400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Black Liberation and Socialism in America’ by Keith Walsh. \u003ccite>(Keith Walsh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ever classically trained as an archivist, Tellefsen “flirted with internships,” studied under the tutelage of a mentor from the UC Berkeley School of Theology, and is part of the Society of American Archivists. But she says she’s developed her own methods of maintaining and organizing her materials.\u003c/p>\n\u003cp>She has notepads showing the evolution of her file-naming conventions. She’s used the Dewey Decimal system and digital memory cards. And she explains that her evolving methods of organization are coupled with tangible “external artifacts,” and the practice of piecing them together to tell life stories.\u003c/p>\n\u003cp>When it came to Angela Davis’ story, Tellefsen says, “Once I began that process of reconstruction, it was like the little kid in me doing a 50,000-piece jigsaw puzzle.”\u003c/p>\n\u003cfigure id=\"attachment_13891133\" class=\"wp-caption alignnone\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891133\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg\" alt=\"Free Angela, Free Women by Faith Ringgold (1971)\" width=\"546\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1971_FaithRinggold_AngelaFreeWomen-160x234.jpg 160w\" sizes=\"auto, (max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">‘Free Angela, Free Women’ by Faith Ringgold (1971). \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If everything goes according to plan, Tellefsen tells me, the finished “puzzle” will not only be this “exhibition catalog” of a book, but an actual exhibition shown at \u003ca href=\"http://www.zimmerlimuseum.rutgers.edu/voorhees-galleries/angela-davis-%E2%80%94-seize-time#.YAC-yJNKjAM\" target=\"_blank\" rel=\"noopener noreferrer\">Rutgers University’s Zimmerli Art Museum\u003c/a> in the fall. After that, fingers crossed, it will come to the Oakland Musuem of California.\u003c/p>\n\u003cp>“To me,” says Tellefsen, “that’s the big moment: when this comes home to Oakland. That will be the crowning achievement for me.”\u003c/p>\n\u003cp>\u003cem>Seize the Time\u003c/em> is being published just as Davis experiences a resurgence, brought on by conversations about abolishing the current criminal justice system. In June of last year, Davis \u003ca href=\"https://www.kqed.org/news/11825274/updates-bay-area-honors-juneteenth-on-the-streets\" target=\"_blank\" rel=\"noopener noreferrer\">joined a rally\u003c/a> to shut down the Port of Oakland in the wake of the killings of George Floyd and Breonna Taylor.\u003c/p>\n\u003cfigure id=\"attachment_13891134\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg\" alt='\"Sister: You Are Welcome Here\" reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, Leviathan.' width=\"800\" height=\"1161\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1411x2048.jpg 1411w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-1920x2786.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1970_Leviathan-scaled.jpg 1764w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sister: You Are Welcome Here” reads the caption that accompanies an image of Angela Davis on the cover of the alternative weekly newspaper, ‘Leviathan.’ \u003ccite>(Lisbet Tellefsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And as a speaker, Davis, who celebrates her 77th birthday on Jan. 26, is still very active. She’s scheduled to be in discussion with \u003ca href=\"https://www.eventbrite.com/e/a-call-to-action-then-and-now-dr-martin-luther-king-jr-celebration-tickets-133768744917\">Alicia Garza\u003c/a> on Monday, Jan. 18, as a part of the Madam Walker Legacy Center and University of Indiana’s virtual MLK Day event.\u003c/p>\n\u003cp>“It’s like something has aligned, where her words are being heard in the mainstream. Not the ‘radical fringe,’ or whatever they call her outside of the activist and academic bubble,” says Tellefsen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lady Gaga, Jennifer Lopez To Headline Biden Inauguration",
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"content": "\u003cp>President-elect Joe Biden may not have big crowds at his coronavirus-limited inauguration, but he won’t be lacking for star power.\u003c/p>\n\u003cp>The Presidential Inaugural Committee announced Thursday that pop star Lady Gaga will sing the National Anthem and Jennifer Lopez will perform a musical number at the Capitol ceremony next week.\u003c/p>\n\u003cp>Other participants will include Leo J. O’Donovan, a Jesuit priest and former Georgetown University president who will lead the invocation, and Andrea Hall, the first Black woman to be named captain with the South Fulton Fire and Rescue Department in Georgia, who will lead the Pledge of Allegiance.\u003c/p>\n\u003cp>There will also be a poetry reading by Amanda Gorman, the first-ever national Youth Poet Laureate. The Rev. Silvester Beaman, pastor of Bethel African Methodist Episcopal Church in Wilmington, Del., will conduct the benediction.\u003c/p>\n\u003cp>The announcement of their participation comes one day after word that Tom Hanks will host a \u003ca href=\"https://apnews.com/article/joe-biden-inauguration-tv-special-425933c038629dba55d56ac569e83d38\" rel=\"noopener noreferrer\" target=\"_blank\">90-minute primetime TV special\u003c/a> celebrating Biden’s inauguration. Other performers for the special include Justin Timberlake, Jon Bon Jovi, Demi Lovato and Ant Clemons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President-elect Joe Biden may not have big crowds at his coronavirus-limited inauguration, but he won’t be lacking for star power.\u003c/p>\n\u003cp>The Presidential Inaugural Committee announced Thursday that pop star Lady Gaga will sing the National Anthem and Jennifer Lopez will perform a musical number at the Capitol ceremony next week.\u003c/p>\n\u003cp>Other participants will include Leo J. O’Donovan, a Jesuit priest and former Georgetown University president who will lead the invocation, and Andrea Hall, the first Black woman to be named captain with the South Fulton Fire and Rescue Department in Georgia, who will lead the Pledge of Allegiance.\u003c/p>\n\u003cp>There will also be a poetry reading by Amanda Gorman, the first-ever national Youth Poet Laureate. The Rev. Silvester Beaman, pastor of Bethel African Methodist Episcopal Church in Wilmington, Del., will conduct the benediction.\u003c/p>\n\u003cp>The announcement of their participation comes one day after word that Tom Hanks will host a \u003ca href=\"https://apnews.com/article/joe-biden-inauguration-tv-special-425933c038629dba55d56ac569e83d38\" rel=\"noopener noreferrer\" target=\"_blank\">90-minute primetime TV special\u003c/a> celebrating Biden’s inauguration. Other performers for the special include Justin Timberlake, Jon Bon Jovi, Demi Lovato and Ant Clemons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Diego Rivera Mural at SFAI to Receive Landmark Designation, Preventing Possible Sale",
"headTitle": "Diego Rivera Mural at SFAI to Receive Landmark Designation, Preventing Possible Sale | KQED",
"content": "\u003cp>The San Francisco Board of Supervisors voted unanimously Tuesday afternoon to \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9053990&GUID=BD2C3C2B-2D09-436C-97DF-DB52B348A9BB\" rel=\"noopener noreferrer\" target=\"_blank\">initiate landmark designation\u003c/a> for the 1931 Diego Rivera mural \u003ci>\u003ca href=\"https://www.sfai.edu/about-sfai/diego-rivera-mural\" rel=\"noopener noreferrer\" target=\"_blank\">The Making of a Fresco Showing the Building of a City\u003c/a>\u003c/i> located inside the San Francisco Art Institute’s Chestnut Street campus.\u003c/p>\n\u003cp>Sponsored by District 3 Supervisor Aaron Peskin, the resolution addressed \u003ca href=\"https://hyperallergic.com/614232/plan-to-sell-diego-rivera-mural-at-san-francisco-art-institute-draws-backlash/\" rel=\"noopener noreferrer\" target=\"_blank\">recent concern\u003c/a> that the SFAI board of trustees was considering removing and selling the mural, appraised at $50 million, to cover the institution’s looming $19.7 million debt. That debt is to be repaid to the \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\" rel=\"noopener noreferrer\" target=\"_blank\">University of California\u003c/a> within six years. Recent coverage by the \u003ci>\u003ca href=\"https://www.nytimes.com/2021/01/05/arts/design/san-francisco-art-institute-diego-rivera-mural.html\" rel=\"noopener noreferrer\" target=\"_blank\">New York Times\u003c/a>\u003c/i> identified the potential buyer as George Lucas’ Museum of Narrative Art in Los Angeles.\u003c/p>\n\u003cp>[aside postID='arts_13878509']While the SFAI board of trustees has emphasized its “desire to keep the mural where Rivera originally painted it,” as board chair Pam Rorke Levy wrote in a \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/SFAI-Board-Statement-1-11-21-FINAL-1.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">Jan. 11 letter\u003c/a> to the supervisors, they opposed today’s initiation of landmark designation. \u003c/p>\n\u003cp>Instead, Levy asked that the supervisors to delay their decision “for at least a month,” explaining that “landmarking the mural now will prevent us from using it—SFAI’s only significant asset—to secure the $7 million bridge loan we need to make it through the pandemic and rebuild our enrollment over the next two years.”\u003c/p>\n\u003cp>Article 10 of the San Francisco Planning Code outlines the purposes of landmark designation “to promote the health, safety and general welfare of the public,” by protecting sites “that are reminders of past eras, events and persons important in local, state or national history.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is one of just three Rivera murals in San Francisco, and it depicts, along with the artist’s broad backside, anonymous steel riveters, industrial laborers, then-SFAI president William Gerstle and Coit Tower architect Arthur Brown, Jr.\u003c/p>\n\u003cp>As for how long it might take to achieve landmark designation for the Rivera mural, Peskin says, “The normal answer is it takes 60–120 days depending on how fast things happen. But in this particular case it doesn’t really matter.” That’s because he believes the mural is already protected by a previous landmark designation for SFAI’s entire Chestnut Street campus. (That proposal was approved in 1977 by then-Supervisor Diane Feinstein and signed into effect by Mayor George Moscone.) \u003c/p>\n\u003cp>In the paperwork attached to that approval, the \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9044582&GUID=BD7A409A-FBE1-42BE-BBE1-54DFA83AA393\" rel=\"noopener noreferrer\" target=\"_blank\">final case report\u003c/a> makes significant mention of the Rivera mural, including a detail about the artist asking for more square footage of wall space, but not a higher commission. \u003c/p>\n\u003cfigure id=\"attachment_13891111\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13891111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s Chestnut Street campus was given city landmark designation in 1977. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the 1977 designation doesn’t fully protect the mural in situ, Peskin thinks \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is worthy of individual recognition. In a Monday night meeting of the Land Use and Transportation Committee that advanced today’s resolution to the full Board of Supervisors, he called SFAI board efforts to delay the designation “heresy.” \u003c/p>\n\u003cp>There is near-unilateral support for today’s resolution within the SFAI community and the art community at large. The Committee to Re-Imagine SFAI (made up of alumni, staff, faculty and community members), which has been working for six months to chart a financially sustainable future for the art school, wrote a letter to the board of trustees in mid-December, stating that the sale of the mural “will cause irreparable harm to the ethical, moral, cultural, social, political, civic, domestic, and international standing of our institution.”\u003c/p>\n\u003cp>[aside postID='arts_13877340']The school’s adjunct faculty (most of them not currently teaching after SFAI initiated layoffs at the end of the spring 2020 semester) called the potential sale “desperate” in \u003ca href=\"https://mailchi.mp/07116bbd7260/future-of-diego-mural-at-sfai?e=f1e05722e5\" rel=\"noopener noreferrer\" target=\"_blank\">an email\u003c/a> sent to the community on Dec. 30. “In reducing the value of such an artwork to pure commodity, the board undermines its school’s own pedagogy,” the email continued, citing the glaring optics of a predominantly white-led institution selling off a work by an artist of color to stay afloat. \u003c/p>\n\u003cp>And on Jan. 7, Los Angeles artist and SFAI alum Catherine Opie wrote an \u003ca href=\"https://www.facebook.com/story.php?story_fbid=10159263426738420&id=533813419&ref=content_filter\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> to the SFAI board, announcing she would withdraw her photograph from an upcoming auction to benefit SFAI. “I can no longer be a part of a legacy that will sell off an essential unique piece of history,” she wrote.\u003c/p>\n\u003cp>In Levy’s Jan. 11 letter to the Board of Supervisors, she proposed the city work with SFAI to help the school “secure a loan or a loan guarantee or an outright grant from the city in the amount of $7 million … Longer term, we would like to explore with you a transaction in which the city could help us pay off our debt to UC and in exchange, receive a financial interest in the mural.”\u003c/p>\n\u003cp>Peskin says the city and county of San Francisco understand the importance of SFAI as a 150-year-old institution, and that he wants the school to survive and someday thrive. But, he emphasizes, “The city of San Francisco has its own problems during COVID and we are not the Art Institute’s bank.”\u003c/p>\n\u003cp>In the next chapter in this ever-unfolding saga, the Committee to Re-Imagine SFAI is scheduled to make its final report to the community in a \u003ca href=\"https://us02web.zoom.us/meeting/register/tZ0qcuiqqT8vHdxH3HLnyJpt-CnJCKYhZmB2\" target=\"_blank\" rel=\"noopener noreferrer\">virtual town hall\u003c/a> 4–6pm on Thursday, Jan. 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to accurately reflect that Diego Rivera asked for a larger wall for his fresco at SFAI, but not more money as originally stated.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Board of Supervisors voted unanimously Tuesday afternoon to \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9053990&GUID=BD2C3C2B-2D09-436C-97DF-DB52B348A9BB\" rel=\"noopener noreferrer\" target=\"_blank\">initiate landmark designation\u003c/a> for the 1931 Diego Rivera mural \u003ci>\u003ca href=\"https://www.sfai.edu/about-sfai/diego-rivera-mural\" rel=\"noopener noreferrer\" target=\"_blank\">The Making of a Fresco Showing the Building of a City\u003c/a>\u003c/i> located inside the San Francisco Art Institute’s Chestnut Street campus.\u003c/p>\n\u003cp>Sponsored by District 3 Supervisor Aaron Peskin, the resolution addressed \u003ca href=\"https://hyperallergic.com/614232/plan-to-sell-diego-rivera-mural-at-san-francisco-art-institute-draws-backlash/\" rel=\"noopener noreferrer\" target=\"_blank\">recent concern\u003c/a> that the SFAI board of trustees was considering removing and selling the mural, appraised at $50 million, to cover the institution’s looming $19.7 million debt. That debt is to be repaid to the \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\" rel=\"noopener noreferrer\" target=\"_blank\">University of California\u003c/a> within six years. Recent coverage by the \u003ci>\u003ca href=\"https://www.nytimes.com/2021/01/05/arts/design/san-francisco-art-institute-diego-rivera-mural.html\" rel=\"noopener noreferrer\" target=\"_blank\">New York Times\u003c/a>\u003c/i> identified the potential buyer as George Lucas’ Museum of Narrative Art in Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the SFAI board of trustees has emphasized its “desire to keep the mural where Rivera originally painted it,” as board chair Pam Rorke Levy wrote in a \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/SFAI-Board-Statement-1-11-21-FINAL-1.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">Jan. 11 letter\u003c/a> to the supervisors, they opposed today’s initiation of landmark designation. \u003c/p>\n\u003cp>Instead, Levy asked that the supervisors to delay their decision “for at least a month,” explaining that “landmarking the mural now will prevent us from using it—SFAI’s only significant asset—to secure the $7 million bridge loan we need to make it through the pandemic and rebuild our enrollment over the next two years.”\u003c/p>\n\u003cp>Article 10 of the San Francisco Planning Code outlines the purposes of landmark designation “to promote the health, safety and general welfare of the public,” by protecting sites “that are reminders of past eras, events and persons important in local, state or national history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is one of just three Rivera murals in San Francisco, and it depicts, along with the artist’s broad backside, anonymous steel riveters, industrial laborers, then-SFAI president William Gerstle and Coit Tower architect Arthur Brown, Jr.\u003c/p>\n\u003cp>As for how long it might take to achieve landmark designation for the Rivera mural, Peskin says, “The normal answer is it takes 60–120 days depending on how fast things happen. But in this particular case it doesn’t really matter.” That’s because he believes the mural is already protected by a previous landmark designation for SFAI’s entire Chestnut Street campus. (That proposal was approved in 1977 by then-Supervisor Diane Feinstein and signed into effect by Mayor George Moscone.) \u003c/p>\n\u003cp>In the paperwork attached to that approval, the \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=9044582&GUID=BD7A409A-FBE1-42BE-BBE1-54DFA83AA393\" rel=\"noopener noreferrer\" target=\"_blank\">final case report\u003c/a> makes significant mention of the Rivera mural, including a detail about the artist asking for more square footage of wall space, but not a higher commission. \u003c/p>\n\u003cfigure id=\"attachment_13891111\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13891111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/02_SFAI-Courtyard-Tower_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">SFAI’s Chestnut Street campus was given city landmark designation in 1977. \u003ccite>(Courtesy of SFAI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the 1977 designation doesn’t fully protect the mural in situ, Peskin thinks \u003ci>The Making of a Fresco Showing the Building of a City\u003c/i> is worthy of individual recognition. In a Monday night meeting of the Land Use and Transportation Committee that advanced today’s resolution to the full Board of Supervisors, he called SFAI board efforts to delay the designation “heresy.” \u003c/p>\n\u003cp>There is near-unilateral support for today’s resolution within the SFAI community and the art community at large. The Committee to Re-Imagine SFAI (made up of alumni, staff, faculty and community members), which has been working for six months to chart a financially sustainable future for the art school, wrote a letter to the board of trustees in mid-December, stating that the sale of the mural “will cause irreparable harm to the ethical, moral, cultural, social, political, civic, domestic, and international standing of our institution.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The school’s adjunct faculty (most of them not currently teaching after SFAI initiated layoffs at the end of the spring 2020 semester) called the potential sale “desperate” in \u003ca href=\"https://mailchi.mp/07116bbd7260/future-of-diego-mural-at-sfai?e=f1e05722e5\" rel=\"noopener noreferrer\" target=\"_blank\">an email\u003c/a> sent to the community on Dec. 30. “In reducing the value of such an artwork to pure commodity, the board undermines its school’s own pedagogy,” the email continued, citing the glaring optics of a predominantly white-led institution selling off a work by an artist of color to stay afloat. \u003c/p>\n\u003cp>And on Jan. 7, Los Angeles artist and SFAI alum Catherine Opie wrote an \u003ca href=\"https://www.facebook.com/story.php?story_fbid=10159263426738420&id=533813419&ref=content_filter\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> to the SFAI board, announcing she would withdraw her photograph from an upcoming auction to benefit SFAI. “I can no longer be a part of a legacy that will sell off an essential unique piece of history,” she wrote.\u003c/p>\n\u003cp>In Levy’s Jan. 11 letter to the Board of Supervisors, she proposed the city work with SFAI to help the school “secure a loan or a loan guarantee or an outright grant from the city in the amount of $7 million … Longer term, we would like to explore with you a transaction in which the city could help us pay off our debt to UC and in exchange, receive a financial interest in the mural.”\u003c/p>\n\u003cp>Peskin says the city and county of San Francisco understand the importance of SFAI as a 150-year-old institution, and that he wants the school to survive and someday thrive. But, he emphasizes, “The city of San Francisco has its own problems during COVID and we are not the Art Institute’s bank.”\u003c/p>\n\u003cp>In the next chapter in this ever-unfolding saga, the Committee to Re-Imagine SFAI is scheduled to make its final report to the community in a \u003ca href=\"https://us02web.zoom.us/meeting/register/tZ0qcuiqqT8vHdxH3HLnyJpt-CnJCKYhZmB2\" target=\"_blank\" rel=\"noopener noreferrer\">virtual town hall\u003c/a> 4–6pm on Thursday, Jan. 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to accurately reflect that Diego Rivera asked for a larger wall for his fresco at SFAI, but not more money as originally stated.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Mayor’s New Small Business Grant, Loan Proposal Offers Hope for the Arts",
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"content": "\u003cp>The COVID-19 crisis is nearing its second year in the Bay Area, and it’s no secret that small businesses are struggling—especially during the current wave of tougher restrictions and climbing infection rates.\u003c/p>\n\u003cp>Today, San Francisco Mayor London Breed proposed two new small business grant and loan programs that aim to offer some relief in this challenging climate. The $62 million plan could be a boon for arts organizations waiting for funding from the state and federal governments, such as, for instance, the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> grant program for independent music venues. Congress passed it in December along with its latest pandemic stimulus package, but funds \u003ca href=\"https://www.billboard.com/articles/business/9509810/save-our-stages-act-passage-niva-director-next-steps/?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">may not be disbursed for months\u003c/a>, and many concert venue owners have said that they are weeks or months away from closing permanently if help doesn’t arrive soon. [aside postid='arts_13890093']\u003c/p>\n\u003cp>Breed’s new plan offers $12.4 million in grants for small businesses, which will be given out in amounts of $5,000-$20,000 depending on the number of employees the business had in February 2020. The grants prioritize businesses owned by people of color and women, long-standing businesses, those most impacted by stay-at-home orders and those unable to access state and federal programs.\u003c/p>\n\u003cp>At today’s Board of Supervisors meeting, Breed said that music and nightlife venues would be among the businesses prioritized. Most of them haven’t been able to operate in any capacity—other than the few selling merchandise or to-go drinks—since March. Yet the San Francisco Venue Coalition estimates that most music venues’ monthly overhead costs are between $18,000–$35,000; many of them have racked up substantial debt, and some, like The Stud, have opted to close for good.\u003c/p>\n\u003cp>Breed emphasized the importance of preserving the city’s nightlife and entertainment venues so there are places to celebrate when the pandemic is over.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The remaining $50 million of the proposed program will go to low-to-no interest small business loans, distributed in amounts of up to $250,000. The goal of the loan program is to stabilize the workforce, the mayor’s announcement says, and to retain and create jobs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breed’s office is working with other departments of San Francisco government to cut their expenditures in order to fund this proposal. To go into effect, it’ll require the Board of Supervisors to approve a new ordinance that will be introduced later this month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The COVID-19 crisis is nearing its second year in the Bay Area, and it’s no secret that small businesses are struggling—especially during the current wave of tougher restrictions and climbing infection rates.\u003c/p>\n\u003cp>Today, San Francisco Mayor London Breed proposed two new small business grant and loan programs that aim to offer some relief in this challenging climate. The $62 million plan could be a boon for arts organizations waiting for funding from the state and federal governments, such as, for instance, the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> grant program for independent music venues. Congress passed it in December along with its latest pandemic stimulus package, but funds \u003ca href=\"https://www.billboard.com/articles/business/9509810/save-our-stages-act-passage-niva-director-next-steps/?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">may not be disbursed for months\u003c/a>, and many concert venue owners have said that they are weeks or months away from closing permanently if help doesn’t arrive soon. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Breed’s new plan offers $12.4 million in grants for small businesses, which will be given out in amounts of $5,000-$20,000 depending on the number of employees the business had in February 2020. The grants prioritize businesses owned by people of color and women, long-standing businesses, those most impacted by stay-at-home orders and those unable to access state and federal programs.\u003c/p>\n\u003cp>At today’s Board of Supervisors meeting, Breed said that music and nightlife venues would be among the businesses prioritized. Most of them haven’t been able to operate in any capacity—other than the few selling merchandise or to-go drinks—since March. Yet the San Francisco Venue Coalition estimates that most music venues’ monthly overhead costs are between $18,000–$35,000; many of them have racked up substantial debt, and some, like The Stud, have opted to close for good.\u003c/p>\n\u003cp>Breed emphasized the importance of preserving the city’s nightlife and entertainment venues so there are places to celebrate when the pandemic is over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The remaining $50 million of the proposed program will go to low-to-no interest small business loans, distributed in amounts of up to $250,000. The goal of the loan program is to stabilize the workforce, the mayor’s announcement says, and to retain and create jobs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breed’s office is working with other departments of San Francisco government to cut their expenditures in order to fund this proposal. To go into effect, it’ll require the Board of Supervisors to approve a new ordinance that will be introduced later this month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "SF Approves In-Person Sundance Festival Screenings at Fort Mason Center | KQED",
"content": "\u003cp>San Francisco city officials will allow drive-in screenings for the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> to go ahead at the end of the month, giving Bay Area movie buffs the opportunity to see the films in-person during the pandemic.\u003c/p>\n\u003cp>A statement sent to KQED from the city’s COVID information team said the decision to permit the festival’s drive-in movie screenings at the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Center for Arts and Culture\u003c/a> is in accordance with statewide guidelines.\u003c/p>\n\u003cp>“Under California’s regional stay-at-home order, drive-in theaters are permitted to operate,” the statement said. “In line with the city’s allowance of industry operation to the level at which the state permits, San Francisco has worked with the Fort Mason Center for Arts and Culture to carefully examine operating conditions that reduce the risk of drive-in theaters as much as possible. The Fort Mason Center has been a close partner in ensuring that their operations are aligned with the current state of public health conditions in San Francisco and we will continue to work together on these issues.”\u003c/p>\n\u003cp>A follow-up email from the city said drive-ins are currently the only non-essential businesses not currently open in San Francisco that are allowed to be open under state guidelines. “The state does not currently allow San Francisco to consider opening any other closed uses,” the email said.\u003c/p>\n\u003cp>Despite the widespread stay-at-home orders across the Bay Area that forced many non-essential businesses to close down again late last year, drive-ins are currently operating in other parts of the Bay Area, such as the \u003ca href=\"https://www.westwinddi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In\u003c/a> in San Jose and the \u003ca href=\"https://www.alamedatheatres.com/drivein/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda Theatre & Cineplex\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Fort Mason Center and its presenting partner the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will be required to limit cars to a single household and won’t be permitted to sell concessions. Filmgoers must remain in their vehicles unless using the restrooms.\u003c/p>\n\u003cp>“While the Roxie’s doors have been closed for nearly 10 months, we’ve been active this entire time, trying our best to still present great movies and stay connected to a community that’s so dear to us,” said Lex Sloan, the Roxie’s executive director.\u003c/p>\n\u003cp>“These Sundance Festival drive-in screenings at Fort Mason are a chance for us to get a little closer to bringing the theatrical experience we’ve missed so much back to San Francisco,” said Roxie operations manager Kelly Wiggin.\u003c/p>\n\u003cp>Along with its online programming, Sundance selected the Roxie as one of roughly 30 partner film presenters around the country. The historic indie theater is the only Northern California presenter; the state’s other two are in the Los Angeles area.\u003c/p>\n\u003cp>It’s the first time in the festival’s history moviegoers will get to experience Sundance’s entire program without having to trek out to Utah.\u003c/p>\n\u003cp>Moviegoers can see films from an array of Bay Area filmmakers at this year’s festival. Locally-produced highlights include Natalia Almada’s documentary \u003ca href=\"https://www.documentary.org/project/users\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Users\u003c/em>\u003c/a> about the dehumanizing consequences of technological advances, and a pair of documentaries focused on Bay Area public schools: Debbie Lum’s \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder\u003c/em>\u003c/a>, featuring students from San Francisco’s Lowell High School; and Peter Nicks’ \u003ca href=\"http://openhood.org/homeroom/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Homeroom\u003c/em>\u003c/a>, set in Oakland High School. (\u003cem>Homeroom\u003c/em> is only available online; it will not be screened at Fort Mason.)\u003c/p>\n\u003cp>“To have our local story about a San Francisco institution, Lowell High School, be at Sundance is so exciting to begin with,” said \u003cem>Try Harder\u003c/em> director Lum. “This year, we can have a premiere simultaneously in the exclusive venue of Park City and in San Francisco, so that the community at the center of the story can actually attend Sundance.”\u003c/p>\n\u003cp>“For us it was a difficult decision to apply to Sundance knowing COVID would be a factor because the film is really intended for a theater,” said \u003cem>Users\u003c/em> director Almada. “But when we thought about it more deeply, it felt really important to keep making our work as a reflection and a response to the time in which we are living. Waiting for this to all pass didn’t feel right. The silver lining of not being able to go to Sundance is the possibility of having Sundance come to us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2021 Sundance Film Festival runs Jan. 28 through Feb. 3. Full San Francisco Sundance lineup and tickets \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco city officials will allow drive-in screenings for the \u003ca href=\"https://festival.sundance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> to go ahead at the end of the month, giving Bay Area movie buffs the opportunity to see the films in-person during the pandemic.\u003c/p>\n\u003cp>A statement sent to KQED from the city’s COVID information team said the decision to permit the festival’s drive-in movie screenings at the \u003ca href=\"https://fortmason.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Center for Arts and Culture\u003c/a> is in accordance with statewide guidelines.\u003c/p>\n\u003cp>“Under California’s regional stay-at-home order, drive-in theaters are permitted to operate,” the statement said. “In line with the city’s allowance of industry operation to the level at which the state permits, San Francisco has worked with the Fort Mason Center for Arts and Culture to carefully examine operating conditions that reduce the risk of drive-in theaters as much as possible. The Fort Mason Center has been a close partner in ensuring that their operations are aligned with the current state of public health conditions in San Francisco and we will continue to work together on these issues.”\u003c/p>\n\u003cp>A follow-up email from the city said drive-ins are currently the only non-essential businesses not currently open in San Francisco that are allowed to be open under state guidelines. “The state does not currently allow San Francisco to consider opening any other closed uses,” the email said.\u003c/p>\n\u003cp>Despite the widespread stay-at-home orders across the Bay Area that forced many non-essential businesses to close down again late last year, drive-ins are currently operating in other parts of the Bay Area, such as the \u003ca href=\"https://www.westwinddi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In\u003c/a> in San Jose and the \u003ca href=\"https://www.alamedatheatres.com/drivein/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda Theatre & Cineplex\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Fort Mason Center and its presenting partner the \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> will be required to limit cars to a single household and won’t be permitted to sell concessions. Filmgoers must remain in their vehicles unless using the restrooms.\u003c/p>\n\u003cp>“While the Roxie’s doors have been closed for nearly 10 months, we’ve been active this entire time, trying our best to still present great movies and stay connected to a community that’s so dear to us,” said Lex Sloan, the Roxie’s executive director.\u003c/p>\n\u003cp>“These Sundance Festival drive-in screenings at Fort Mason are a chance for us to get a little closer to bringing the theatrical experience we’ve missed so much back to San Francisco,” said Roxie operations manager Kelly Wiggin.\u003c/p>\n\u003cp>Along with its online programming, Sundance selected the Roxie as one of roughly 30 partner film presenters around the country. The historic indie theater is the only Northern California presenter; the state’s other two are in the Los Angeles area.\u003c/p>\n\u003cp>It’s the first time in the festival’s history moviegoers will get to experience Sundance’s entire program without having to trek out to Utah.\u003c/p>\n\u003cp>Moviegoers can see films from an array of Bay Area filmmakers at this year’s festival. Locally-produced highlights include Natalia Almada’s documentary \u003ca href=\"https://www.documentary.org/project/users\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Users\u003c/em>\u003c/a> about the dehumanizing consequences of technological advances, and a pair of documentaries focused on Bay Area public schools: Debbie Lum’s \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder\u003c/em>\u003c/a>, featuring students from San Francisco’s Lowell High School; and Peter Nicks’ \u003ca href=\"http://openhood.org/homeroom/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Homeroom\u003c/em>\u003c/a>, set in Oakland High School. (\u003cem>Homeroom\u003c/em> is only available online; it will not be screened at Fort Mason.)\u003c/p>\n\u003cp>“To have our local story about a San Francisco institution, Lowell High School, be at Sundance is so exciting to begin with,” said \u003cem>Try Harder\u003c/em> director Lum. “This year, we can have a premiere simultaneously in the exclusive venue of Park City and in San Francisco, so that the community at the center of the story can actually attend Sundance.”\u003c/p>\n\u003cp>“For us it was a difficult decision to apply to Sundance knowing COVID would be a factor because the film is really intended for a theater,” said \u003cem>Users\u003c/em> director Almada. “But when we thought about it more deeply, it felt really important to keep making our work as a reflection and a response to the time in which we are living. Waiting for this to all pass didn’t feel right. The silver lining of not being able to go to Sundance is the possibility of having Sundance come to us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2021 Sundance Film Festival runs Jan. 28 through Feb. 3. Full San Francisco Sundance lineup and tickets \u003ca href=\"https://www.roxie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Arts and culture make up a huge, \u003ca href=\"https://www.arts.gov/about/news/2020/during-economic-highs-and-lows-arts-are-key-segment-us-economy\" target=\"_blank\" rel=\"noopener noreferrer\">$877 billion industry that generates more than five million jobs across the country\u003c/a>. But the amount of federal funding for the arts is tiny when compared with smaller industries like agriculture—so what are arts organizations hoping for under the Biden administration?\u003c/p>\n\u003cp>The National Endowment for the Arts gives grants to organizations across the country—from big ones like Lincoln Center and NPR to small ones like the Wichita Falls Alliance for Arts and Culture. “West Texas Wichita Falls. We’re not in Kansas,” says executive director Margie Reese, who adds that her group used one of their NEA grants to commission regional artists to make murals in economically distressed areas.\u003c/p>\n\u003cp>For Vernon, Texas, 25 year old Selena Mize painted musician and native son, the late Roy Orbison. It was a name Mize didn’t know—until Reese played her one of his songs, “Pretty Woman.” [aside postid='arts_13890625']\u003c/p>\n\u003cp>“At first I didn’t know that was Roy Orbison,” Mize laughs. “I thought it was Elvis Presley.” She says growing up she heard both singers while listening to music with her father and grandparents. Her mural shows Orbison with his trademark dark sunglasses, playing his guitar. She says the attention she got for the work was life-changing. “The community was very excited and open about it, and it’s just something I would never forget.”\u003c/p>\n\u003cp>“This bright, sunshiny mural is bringing pride back to Vernon, Texas,” Reese says. “The power of visual arts to bring a community back to life—this is what our attempt was with that mural.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When it comes to government support of the arts, Reese is a veteran, having worked in the cultural affairs departments in Dallas and Los Angeles. She’s seen presidents and NEA chairs come and go. “When you have a change in administration and a shift in philosophy about arts funding,” she says, “the entire field begins to worry about what’s going to happen, how is this change going to affect us?”\u003c/p>\n\u003cp>“Steady” is the word Reese uses to describe federal arts funding under President Trump. Even though each of his budgets proposed eliminating the arts and humanities endowments—as well as the Institute of Museum and Library Services—Congress rejected the cuts.\u003c/p>\n\u003cp>“There’s a lot of love for libraries and for museums inside the Beltway,” says Crosby Kemper, who was the Trump administration’s pick to head the IMLS. Like the endowments, the Institute distributes grants, conducts research and helps shape policies that affect museums and libraries. Even though Republicans often talk about cutting funding for the arts, Kemper points out that all three budgets have increased slightly over the last three years: “I think you have to look at what actually happens, and what actually happens for the IMLS, the NEA and the NEH is they have a lot of support in the political world—and including inside the administration.” [aside postid='arts_13890207']\u003c/p>\n\u003cp>But for actor Kal Penn, Trump’s rhetoric has been damaging to the arts. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102859368\" target=\"_blank\" rel=\"noopener noreferrer\">Penn was appointed by President Obama to the President’s Committee on the Arts and Humanities\u003c/a>, an advisory group founded in 1982. He had planned to stay on, but after Trump’s handling of the deadly white supremacist rally in Charlottesville, \u003ca href=\"https://news.artnet.com/art-world/resignation-arts-committee-trump-1056158\" target=\"_blank\" rel=\"noopener noreferrer\">he and everyone else on the committee resigned\u003c/a>.\u003c/p>\n\u003cp>“The President’s Committee on the Arts and Humanities was then never relaunched under the Trump administration, just to show you that it really wasn’t a priority at all,” he says.\u003c/p>\n\u003cp>Penn says he wants to see the Biden administration give the Endowments an “astronomical increase.”\u003c/p>\n\u003cp>“I think it’s important now more than ever to be bold,” he says, noting that the arts benefit education, innovation, mental and emotional health. Plus, he says, it’s a good investment.\u003c/p>\n\u003cp>“When you say, okay, well, why did you spend all this money to save this theater—yes, you’re saving the theater, and maybe you’re saving the 500 jobs that the theater provides for the local community, but you’re also then saving the restaurants that people go to the night of the show,” he says. “You’re saving the hotels that the visiting artists stay at. You’re saving, you know, the parking facility. And it may sound like very little, but when you start to multiply that by the numbers of businesses like this that exist around the country, you can see why investing in the arts really makes economic sense.”\u003c/p>\n\u003cp>Earlier this year, the Bureau of Economic Analysis and the National Endowment for the Arts released a report that said the arts contributed 4.5 percent to the country’s GDP in 2017. That’s more than agriculture and transportation. Arts advocate Charles Segars, head of the Ovation TV network, says it’s time for the arts to be taken just as seriously by the White House, by creating a cabinet level Secretary of Arts and Culture. [aside postid='arts_13888399']\u003c/p>\n\u003cp>“It centralizes, in the positive sense of the word, all of the leverage of the United States government. Remember, you have arts pockets throughout the Department of State, Department of Defense. Even Transportation and Agriculture has a taste of that, of arts programs that they help support.”\u003c/p>\n\u003cp>Segars says the Cabinet-level position would also handle intellectual property rights and exports. Years ago, music producer Quincy Jones tried to get Obama to create a Secretary of Arts; it never happened, but Segars says he thinks it’s a realistic goal. “I think it’s going to take time,” he says, “but we all have to talk about it.”\u003c/p>\n\u003cp>Crosby Kemper of the IMLS says he can’t predict what the next administration will do, but he thinks Biden’s personality points in that direction. “I’d say the first and most important thing is that he’s a great lover of Irish poetry and therefore clearly a civilized man.”\u003c/p>\n\u003cp>The Biden transition team did not respond to requests for comment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Biden+Cabinet+Secretary+For+Arts%3F+Advocates+Are+Hopeful&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts and culture make up a huge, \u003ca href=\"https://www.arts.gov/about/news/2020/during-economic-highs-and-lows-arts-are-key-segment-us-economy\" target=\"_blank\" rel=\"noopener noreferrer\">$877 billion industry that generates more than five million jobs across the country\u003c/a>. But the amount of federal funding for the arts is tiny when compared with smaller industries like agriculture—so what are arts organizations hoping for under the Biden administration?\u003c/p>\n\u003cp>The National Endowment for the Arts gives grants to organizations across the country—from big ones like Lincoln Center and NPR to small ones like the Wichita Falls Alliance for Arts and Culture. “West Texas Wichita Falls. We’re not in Kansas,” says executive director Margie Reese, who adds that her group used one of their NEA grants to commission regional artists to make murals in economically distressed areas.\u003c/p>\n\u003cp>For Vernon, Texas, 25 year old Selena Mize painted musician and native son, the late Roy Orbison. It was a name Mize didn’t know—until Reese played her one of his songs, “Pretty Woman.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At first I didn’t know that was Roy Orbison,” Mize laughs. “I thought it was Elvis Presley.” She says growing up she heard both singers while listening to music with her father and grandparents. Her mural shows Orbison with his trademark dark sunglasses, playing his guitar. She says the attention she got for the work was life-changing. “The community was very excited and open about it, and it’s just something I would never forget.”\u003c/p>\n\u003cp>“This bright, sunshiny mural is bringing pride back to Vernon, Texas,” Reese says. “The power of visual arts to bring a community back to life—this is what our attempt was with that mural.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it comes to government support of the arts, Reese is a veteran, having worked in the cultural affairs departments in Dallas and Los Angeles. She’s seen presidents and NEA chairs come and go. “When you have a change in administration and a shift in philosophy about arts funding,” she says, “the entire field begins to worry about what’s going to happen, how is this change going to affect us?”\u003c/p>\n\u003cp>“Steady” is the word Reese uses to describe federal arts funding under President Trump. Even though each of his budgets proposed eliminating the arts and humanities endowments—as well as the Institute of Museum and Library Services—Congress rejected the cuts.\u003c/p>\n\u003cp>“There’s a lot of love for libraries and for museums inside the Beltway,” says Crosby Kemper, who was the Trump administration’s pick to head the IMLS. Like the endowments, the Institute distributes grants, conducts research and helps shape policies that affect museums and libraries. Even though Republicans often talk about cutting funding for the arts, Kemper points out that all three budgets have increased slightly over the last three years: “I think you have to look at what actually happens, and what actually happens for the IMLS, the NEA and the NEH is they have a lot of support in the political world—and including inside the administration.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for actor Kal Penn, Trump’s rhetoric has been damaging to the arts. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102859368\" target=\"_blank\" rel=\"noopener noreferrer\">Penn was appointed by President Obama to the President’s Committee on the Arts and Humanities\u003c/a>, an advisory group founded in 1982. He had planned to stay on, but after Trump’s handling of the deadly white supremacist rally in Charlottesville, \u003ca href=\"https://news.artnet.com/art-world/resignation-arts-committee-trump-1056158\" target=\"_blank\" rel=\"noopener noreferrer\">he and everyone else on the committee resigned\u003c/a>.\u003c/p>\n\u003cp>“The President’s Committee on the Arts and Humanities was then never relaunched under the Trump administration, just to show you that it really wasn’t a priority at all,” he says.\u003c/p>\n\u003cp>Penn says he wants to see the Biden administration give the Endowments an “astronomical increase.”\u003c/p>\n\u003cp>“I think it’s important now more than ever to be bold,” he says, noting that the arts benefit education, innovation, mental and emotional health. Plus, he says, it’s a good investment.\u003c/p>\n\u003cp>“When you say, okay, well, why did you spend all this money to save this theater—yes, you’re saving the theater, and maybe you’re saving the 500 jobs that the theater provides for the local community, but you’re also then saving the restaurants that people go to the night of the show,” he says. “You’re saving the hotels that the visiting artists stay at. You’re saving, you know, the parking facility. And it may sound like very little, but when you start to multiply that by the numbers of businesses like this that exist around the country, you can see why investing in the arts really makes economic sense.”\u003c/p>\n\u003cp>Earlier this year, the Bureau of Economic Analysis and the National Endowment for the Arts released a report that said the arts contributed 4.5 percent to the country’s GDP in 2017. That’s more than agriculture and transportation. Arts advocate Charles Segars, head of the Ovation TV network, says it’s time for the arts to be taken just as seriously by the White House, by creating a cabinet level Secretary of Arts and Culture. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It centralizes, in the positive sense of the word, all of the leverage of the United States government. Remember, you have arts pockets throughout the Department of State, Department of Defense. Even Transportation and Agriculture has a taste of that, of arts programs that they help support.”\u003c/p>\n\u003cp>Segars says the Cabinet-level position would also handle intellectual property rights and exports. Years ago, music producer Quincy Jones tried to get Obama to create a Secretary of Arts; it never happened, but Segars says he thinks it’s a realistic goal. “I think it’s going to take time,” he says, “but we all have to talk about it.”\u003c/p>\n\u003cp>Crosby Kemper of the IMLS says he can’t predict what the next administration will do, but he thinks Biden’s personality points in that direction. “I’d say the first and most important thing is that he’s a great lover of Irish poetry and therefore clearly a civilized man.”\u003c/p>\n\u003cp>The Biden transition team did not respond to requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The creation of new Smithsonian museums dedicated to Latinos and women can now move forward. Earlier this month, Sen. Mike Lee (R-UT) was the lone vote \u003ca href=\"https://www.npr.org/2020/12/11/945389843/sen-mike-lee-blocks-legislation-for-latino-womens-museums\" target=\"_blank\" rel=\"noopener noreferrer\">blocking\u003c/a> legislation, saying “separate-but-equal museums” would “further divide an already divided nation.” Supporters of both museums quickly moved to ensure the museums would be included in the $900 billion year-end spending package which was passed by Congress on Monday and now heads to President Trump’s desk.\u003c/p>\n\u003cp>“Victory finally came today,” Sen. Bob Menendez (D-NJ) wrote in a \u003ca href=\"https://www.menendez.senate.gov/newsroom/press/menendez-national-american-latino-museum-will-be-built\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>. Noting that a National Museum of the American Latino has been decades in the making, Menendez says, “We have overcome tremendous obstacles and unbelievable hurdles to get to this historic moment, but, as I’ve said before, Latinos are used to overcoming obstacles.”\u003c/p>\n\u003cp>Estuardo Rodriguez, president of \u003ca href=\"https://americanlatinomuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Friends of the American Latino Museum\u003c/a>, tells NPR it’s fitting that the museum is included in the coronavirus relief bill. [aside postid='arts_11830777']\u003c/p>\n\u003cp>“With the Latino community on the frontlines of this pandemic, in the food service industry, agriculture, healthcare services and caring for the elderly … Latinos and Latinas have been disproportionately impacted by the pandemic, suffering high rates of infection and death.” He continues, “The legislation to create a museum serves to not only honor the past contributions of American Latinos for over 500 years, but recognize their sacrifices today.”\u003c/p>\n\u003cp>The Smithsonian cannot build a new museum without federal legislation but both the Latino and women’s museums have bipartisan support.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrating the inclusion of a Smithsonian Women’s History Museum in the omnibus spending package, Rep. Carolyn B. Maloney (D-NY) writes that she is “thrilled that we are finally set to pass this historic legislation.” She continues, “How fitting that we pass this bill as we mark the centennial of the 19th Amendment and in the year in which we elected our first woman vice president.” [aside postid='arts_13816161']\u003c/p>\n\u003cp>Similar to the financing of the \u003ca href=\"https://www.npr.org/series/493945132/grand-opening-the-national-museum-of-african-american-history-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of African American History and Culture\u003c/a>, the last Smithsonian museum built on the National Mall, the law requires costs be covered by a 50/50 split between public and private dollars. The Smithsonian’s Board of Regents will be tasked with finding space for both museums on or near the National Mall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sen. Lee of Utah was one of six senators, all Republican, to vote no on the omnibus spending bill.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Congress+Approves+2+New+Museums+Honoring+American+Latinos%2C+Women%27s+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The creation of new Smithsonian museums dedicated to Latinos and women can now move forward. Earlier this month, Sen. Mike Lee (R-UT) was the lone vote \u003ca href=\"https://www.npr.org/2020/12/11/945389843/sen-mike-lee-blocks-legislation-for-latino-womens-museums\" target=\"_blank\" rel=\"noopener noreferrer\">blocking\u003c/a> legislation, saying “separate-but-equal museums” would “further divide an already divided nation.” Supporters of both museums quickly moved to ensure the museums would be included in the $900 billion year-end spending package which was passed by Congress on Monday and now heads to President Trump’s desk.\u003c/p>\n\u003cp>“Victory finally came today,” Sen. Bob Menendez (D-NJ) wrote in a \u003ca href=\"https://www.menendez.senate.gov/newsroom/press/menendez-national-american-latino-museum-will-be-built\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>. Noting that a National Museum of the American Latino has been decades in the making, Menendez says, “We have overcome tremendous obstacles and unbelievable hurdles to get to this historic moment, but, as I’ve said before, Latinos are used to overcoming obstacles.”\u003c/p>\n\u003cp>Estuardo Rodriguez, president of \u003ca href=\"https://americanlatinomuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Friends of the American Latino Museum\u003c/a>, tells NPR it’s fitting that the museum is included in the coronavirus relief bill. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“With the Latino community on the frontlines of this pandemic, in the food service industry, agriculture, healthcare services and caring for the elderly … Latinos and Latinas have been disproportionately impacted by the pandemic, suffering high rates of infection and death.” He continues, “The legislation to create a museum serves to not only honor the past contributions of American Latinos for over 500 years, but recognize their sacrifices today.”\u003c/p>\n\u003cp>The Smithsonian cannot build a new museum without federal legislation but both the Latino and women’s museums have bipartisan support.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrating the inclusion of a Smithsonian Women’s History Museum in the omnibus spending package, Rep. Carolyn B. Maloney (D-NY) writes that she is “thrilled that we are finally set to pass this historic legislation.” She continues, “How fitting that we pass this bill as we mark the centennial of the 19th Amendment and in the year in which we elected our first woman vice president.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Similar to the financing of the \u003ca href=\"https://www.npr.org/series/493945132/grand-opening-the-national-museum-of-african-american-history-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of African American History and Culture\u003c/a>, the last Smithsonian museum built on the National Mall, the law requires costs be covered by a 50/50 split between public and private dollars. The Smithsonian’s Board of Regents will be tasked with finding space for both museums on or near the National Mall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sen. Lee of Utah was one of six senators, all Republican, to vote no on the omnibus spending bill.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Congress+Approves+2+New+Museums+Honoring+American+Latinos%2C+Women%27s+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Help might be on the way for independent music venues, which have been in dire financial straits since the pandemic began. With no revenue coming in, some venue owners have \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">called it quits\u003c/a> and gone out of business. Meanwhile, others have \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">dug into their retirements\u003c/a> and amassed debt to hang on to their establishments until the vaccine arrives. Crowdfunding, selling merchandise or \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">grants from philanthropic foundations\u003c/a> have provided some relief, but not enough to cover an average San Francisco concert hall’s estimated $18,000–$35,000 monthly overhead costs.\u003c/p>\n\u003cp>The long-awaited \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> promises some help. It’s part of the COVID-19 stimulus package that Congressional Democrats and Republicans finally agreed upon on Sunday after months of stalling and debate. The House and Senate must now pass the bill, and President Trump must sign it, before it becomes law. If passed, $15 billion would go to grant programs for live venues, independent movie theaters and other cultural institutions, according to a statement from House Speaker Nancy Pelosi and Senate Minority Leader Chuck Schumer. Each qualifying venue would be awarded a grant equal to 45% of its 2019 operating costs, or up to $12 million.\u003c/p>\n\u003cp>Dayna Frank, board president of the National Independent Venue Association, praised the compromise in a statement. She heads an advocacy group of club owners that includes over 100 members in Northern California. “We’re also incredibly grateful that this bill provides Pandemic Unemployment Assistance which will help the millions of people who lost their jobs through no fault of their own during this economic crisis,” she wrote. “We urge swift passage of this legislation, which will assist those in the greatest need and ensure the music lives on for generations to come.”\u003c/p>\n\u003cp>Timing is crucial for Bay Area music venues, which were already operating on thin profit margins due to high rent and mortgage costs. Recently, some club owners have said they’re weeks or months away from closing. [aside postid='arts_13890093']\u003c/p>\n\u003cp>While pleased with the compromise, San Francisco Venue Coalition member Casey Lowdermilk says he’s cautiously optimistic. “There are a lot of steps still to be done—implementation, distribution and tracking all the venues in San Francisco to make sure they can get this money and survive this shutdown,” says Lowdermilk, who is also the assistant general manager of Bill Graham Civic Auditorium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says the San Francisco Venue Coalition will continue its campaign in city hall, which urges San Francisco to set aside $48 million to allow around 50 music venues to survive 16–18 months of closure. “We’re kind of concerned that federal money might not be timely enough, so we’re still pushing forward in San Francisco as planned,” Lowdermilk says.\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney also emphasized the sense of urgency. “I\u003cspan class=\"s1\"> think our concern now is how quickly that money can be disbursed,” he says. “Some of these venues are weeks or months away from going under. They can’t wait until next year or for the federal bureaucracy to figure it out.”\u003c/span>\u003c/p>\n\u003cp>Last week, Haney proposed the creation of the San Francisco Independent Venue Recovery Fund. It doesn’t have a dollar figure attached to it yet, and the Board of Supervisors is set to discuss it at tomorrow’s meeting on Dec. 22.\u003c/p>\n\u003cp>Haney says that while this federal stimulus package doesn’t include funds directly for city and state governments—which San Francisco badly needs to avoid job and service cuts—his office is researching options for funding music venue relief. Those could include soliciting donations from the private sector, or a loan program that can provide relief in the short term until Save Our Stages money arrives.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“These venues have a lot of people who love them and want to support them,” Haney says. “T\u003c/span>\u003cspan class=\"s1\">he local funding is challenging obviously because we’re facing a massive deficit and are going to make a lot of cuts to our budget. But I think this should be prioritized, especially if it’s money that can be matched or reimbursed at a later date. … I\u003c/span>\u003cspan class=\"s1\">f San Francisco loses these venues, the longterm impacts will be very severe.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include quotes from Supervisor Matt Haney.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Help might be on the way for independent music venues, which have been in dire financial straits since the pandemic began. With no revenue coming in, some venue owners have \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">called it quits\u003c/a> and gone out of business. Meanwhile, others have \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">dug into their retirements\u003c/a> and amassed debt to hang on to their establishments until the vaccine arrives. Crowdfunding, selling merchandise or \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">grants from philanthropic foundations\u003c/a> have provided some relief, but not enough to cover an average San Francisco concert hall’s estimated $18,000–$35,000 monthly overhead costs.\u003c/p>\n\u003cp>The long-awaited \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> promises some help. It’s part of the COVID-19 stimulus package that Congressional Democrats and Republicans finally agreed upon on Sunday after months of stalling and debate. The House and Senate must now pass the bill, and President Trump must sign it, before it becomes law. If passed, $15 billion would go to grant programs for live venues, independent movie theaters and other cultural institutions, according to a statement from House Speaker Nancy Pelosi and Senate Minority Leader Chuck Schumer. Each qualifying venue would be awarded a grant equal to 45% of its 2019 operating costs, or up to $12 million.\u003c/p>\n\u003cp>Dayna Frank, board president of the National Independent Venue Association, praised the compromise in a statement. She heads an advocacy group of club owners that includes over 100 members in Northern California. “We’re also incredibly grateful that this bill provides Pandemic Unemployment Assistance which will help the millions of people who lost their jobs through no fault of their own during this economic crisis,” she wrote. “We urge swift passage of this legislation, which will assist those in the greatest need and ensure the music lives on for generations to come.”\u003c/p>\n\u003cp>Timing is crucial for Bay Area music venues, which were already operating on thin profit margins due to high rent and mortgage costs. Recently, some club owners have said they’re weeks or months away from closing. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says the San Francisco Venue Coalition will continue its campaign in city hall, which urges San Francisco to set aside $48 million to allow around 50 music venues to survive 16–18 months of closure. “We’re kind of concerned that federal money might not be timely enough, so we’re still pushing forward in San Francisco as planned,” Lowdermilk says.\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney also emphasized the sense of urgency. “I\u003cspan class=\"s1\"> think our concern now is how quickly that money can be disbursed,” he says. “Some of these venues are weeks or months away from going under. They can’t wait until next year or for the federal bureaucracy to figure it out.”\u003c/span>\u003c/p>\n\u003cp>Last week, Haney proposed the creation of the San Francisco Independent Venue Recovery Fund. It doesn’t have a dollar figure attached to it yet, and the Board of Supervisors is set to discuss it at tomorrow’s meeting on Dec. 22.\u003c/p>\n\u003cp>Haney says that while this federal stimulus package doesn’t include funds directly for city and state governments—which San Francisco badly needs to avoid job and service cuts—his office is researching options for funding music venue relief. Those could include soliciting donations from the private sector, or a loan program that can provide relief in the short term until Save Our Stages money arrives.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“These venues have a lot of people who love them and want to support them,” Haney says. “T\u003c/span>\u003cspan class=\"s1\">he local funding is challenging obviously because we’re facing a massive deficit and are going to make a lot of cuts to our budget. But I think this should be prioritized, especially if it’s money that can be matched or reimbursed at a later date. … I\u003c/span>\u003cspan class=\"s1\">f San Francisco loses these venues, the longterm impacts will be very severe.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include quotes from Supervisor Matt Haney.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> To protect the identities of some individuals interviewed for this story due to immigration status, only first and middle names were used.\u003c/em>\u003c/p>\n\u003cp>One evening back in June, José Antonio’s cell phone rang. He saw it was his boss calling and realized it could only mean one thing. It had been weeks since they had a new client. For almost his entire adult life, José Antonio has worked as a carpenter. He managed to keep his job through past crises, but he knew that this time he wouldn’t be as lucky.\u003c/p>\n\u003cp>“I felt it in my fingertips. But I didn’t even want to think about it because it brought me down,” he says in Spanish. “When I lost my job, all I could think about was how I could buy food for my family. We had no savings, nothing. I had to think fast.”\u003c/p>\n\u003cp>Looking for ideas, the 41-year-old Oakland resident and father of two went on a walk. Once outside, he realized that he forgot his face mask. That was it: \u003cem>face masks\u003c/em>. That was what was going to get him through this.\u003c/p>\n\u003cp>“Necessity, brother. Necessity is the biggest reason that exists in the world. The need to bring home something to eat everyday,” he says. “When you’re in that spot, your brain thinks a lot quicker.” He had no resources to open up a store and doesn’t qualify for federal benefits. But he knows Oakland well, especially his own neighborhood, Fruitvale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A friend who was traveling to Los Angeles for the weekend told him that he was buying boxes with hundreds of face masks on his trip. Turns out these weren’t simple KN95 or blue surgical masks, but instead a wild collection of designs and prints with the logos of European soccer teams, the faces of Mexican banda music superstars and even Spiderman.\u003c/p>\n\u003cp>He bought a small foldable plastic table and pieces of cardboard where he organizes dozens of face masks, each wrapped in plastic. He placed his stand on several blocks throughout Fruitvale until he decided on a parking lot outside a supermarket, near International Boulevard.\u003c/p>\n\u003cp>“People treat me well here, the manager of the supermarket here has been good to us and lets us street vendors sell here,” José Antonio says. He keeps to himself while he works, except to speak to customers. However, he’s started to notice that almost every week, there’s a new face mask seller in Oakland.\u003c/p>\n\u003cp>“There’s a lot of competition, but still space for everyone. Many travel all around the Bay looking for a place to sell,” he explains. A few blocks down International, there’s another mask seller. Get on BART for one stop, and you might meet several more near the Coliseum.\u003c/p>\n\u003cfigure id=\"attachment_13890514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890514 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jose%CC%81-Antonio-and-his-booth-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">After losing his job as a carpenter, José Antonio began selling face masks in Oakland. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People ask me if this is how I do my part to stop the pandemic. And I tell them, of course! Of course I am!” says María. She sells her face masks in San Francisco’s Mission District, near 23rd Street.\u003c/p>\n\u003cp>María is retired and has lived in San Francisco since she arrived from El Salvador 35 years ago. Selling masks helps her cover some expenses, but she started selling so she could have a reason to leave the house, at least on the weekends. “I started to do this because I could no longer stay inside my house everyday. Being alone in the house for five months is so boring. So I wanted to move around, figure out something that would keep me sane,” she says.\u003c/p>\n\u003cp>An experienced street seller, María has sold all kinds of things. Clothing, imitation jewelry, accessories. “But never face masks. I had never even held one until this year,” she laughs. And now she’s honed her skills to find the most unique designs that catch a pedestrian’s eye.\u003c/p>\n\u003cp>[pullquote size='large' citation='González']“Ever since I came to this country, I’ve reinvented myself many times. To survive. Not to save money, but to survive. And now, face masks help me survive in so many ways.”[/pullquote]\u003c/p>\n\u003cp>What’s one of her most popular masks? A face mask printed with the Salvadoran president Nayib Bukele, smiling at the camera. “So many people ask for him. People ask for masks with their teams’ logo, their favorite brands—they ask for every type of design! Every type of taste you can imagine!”\u003c/p>\n\u003cp>While she values the aesthetic value of each mask, María cares that each mask actually protects her customers. Sitting on a chair next to her stall, she sees countless used surgical face masks flying through the street. She controls her frustration when she sees someone without one.\u003c/p>\n\u003cp>“One day a man buys me a face mask. The next day, I see him crossing the street with no mask. We can’t force anyone to do anything,” she says. “We can only control what we ourselves do, and for me, that’s making sure people have access to masks they can reuse, that they feel safe with.”\u003c/p>\n\u003cfigure id=\"attachment_13890515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890515 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Mari%CC%81a-at-her-stall-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">María sees her face mask business as a way of keeping her community safe. The Mission district, where she’s based, has one of San Francisco’s highest COVID-19 rates. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The risk of working all day outside is very present in María’s mind. Everyday, she hears in the news how the Mission is one of the neighborhoods in San Francisco most affected by coronavirus. \u003ca href=\"https://data.sfgov.org/stories/s/Maps-of-COVID-19-Cases/adm5-wq8i/\" target=\"_blank\" rel=\"noopener noreferrer\">According to the city\u003c/a>, the current monthly case rate in the Mission is 89 cases per 10,000 people, one of the highest in San Francisco.\u003c/p>\n\u003cp>But she still decides to come out and sell face masks. “I protect myself,” she says. “And I help others protect themselves.”\u003c/p>\n\u003ch2>“You Don’t Let Doors Close on You”\u003c/h2>\n\u003cp>Throughout the Bay Area, dozens of individuals have set up informal stalls on the sidewalk, parking lots and swap meets to sell face masks, an indicator of indispensable and undeniable necessity during the pandemic. Many have little to no experience selling in the streets, but selling face masks has been the only opportunity available during one of the worst economic crises in recent history.\u003c/p>\n\u003cp>“You don’t let doors close on you. If you want to survive, you have to hustle,” says González, who sells masks on Alum Rock Avenue in East San José, and asked to go by only his last name. He worked as a gardener for 15 years before losing his job during the summer. [aside postid='forum_2010101881190']\u003c/p>\n\u003cp>“Ever since I came to this country, I’ve reinvented myself many times. To survive. Not to save money, but to survive. And now, face masks help me survive in so many ways,” he says.\u003c/p>\n\u003cp>And while he does not count with a Nayib Bukele mask in his inventory, he still sells masks decorated with the face of another Latin American president, that of Andrés Manuel López Obrador, of México. Not the most popular design, he notes.\u003c/p>\n\u003cp>He takes great care in showing each mask, never removing them from the plastic wrapper. The masks up for display are not for sale. González explains that they’ve been out all day, exposed to all those that pass by. Whenever he sells, he never lets his guard down. The 95116 and 95112 zip codes that make up East San José registers the highest \u003ca href=\"https://www.sccgov.org/sites/covid19/Pages/dashboard-cases-by-zip-code-and-city.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">case rates\u003c/a> in all of Santa Clara County.\u003c/p>\n\u003cfigure id=\"attachment_13890516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Gonza%CC%81lez-at-his-booth-with-Lo%CC%81pez-Obrador-mask-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-2048x1537.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You don’t let doors close on you. If you want to survive, you have to hustle,” says San José face mask vendor González, who lost his job as a gardener during the pandemic. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over in Fruitvale, José Antonio shows the same resolve against similar odds. “I have a responsibility to my family,” he says. Fruitvale has also borne the brunt of the pandemic in Oakland.\u003c/p>\n\u003cp>One of the challenges health officials have faced in Fruitvale is making sure that COVID-19 prevention information reaches the Indigenous community, mostly composed of Mam-speaking immigrants from Guatemala. While public health information is available in both English and Spanish, there’s much less in Mam.\u003c/p>\n\u003cp>Some of the most popular designs at José Antonio’s stall are those embroidered with patterns popular in northern Guatemala, made by Indigenous artisans. “Having this design on is like wearing a small part of your tradition, but presented in a way where it now seems very normal,” he explains.\u003c/p>\n\u003cp>“Many of the people I know don’t want to be targeted when they show that they’re Indigenous,” he continues. “But when they wear a mask with these designs, no one points them out.”\u003c/p>\n\u003ch2>What Your Mask Says\u003c/h2>\n\u003cp>While some mask designs, like those emblazoned with sports teams logos, can be found in every street stand, it’s the handmade masks bearing embroidery crafted by Indigenous artisans that differ from stall to stall, from city to city. [aside label='More Arts & Culture' postid='arts_13890437,arts_13890207,arts_13890197']\u003c/p>\n\u003cp>“Folks come and feel the texture that is handmade. It’s so different from what exists in stores, all that factory-made stuff,” says César Augusto, whose stand is located on Mission and 23rd in San Francisco. Earlier this year, he was forced to close his store on 24th Street, where he sold craftwork by Indigenous artisans from all over the Americas for 17 years. He and his wife transformed their business into two booths, each full with artwork, earrings, and clothing.\u003c/p>\n\u003cp>“In a way, it was a good thing that we closed. It came at the right time. And now, I can breathe a little easier because I can start again, opening a new path for my wife and I,” he explains. Augusto migrated to the U.S. from Ecuador, where he was raised by a family of artisans. Holding a face mask his family sent him, he ponders on the value this piece of fabric has in his life now.\u003c/p>\n\u003cp>“They’ve become their own type of craftwork. I never imagined this would happen,” he says. The mask he’s wearing also comes from Ecuador, embroidered with Quechua patterns. A customer passes by and asks if he’s got any masks printed with the flag of Honduras. Turns out that they just ran out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“People always find ways to show the world where they come from and who they are, even during a pandemic,” Augusto says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> To protect the identities of some individuals interviewed for this story due to immigration status, only first and middle names were used.\u003c/em>\u003c/p>\n\u003cp>One evening back in June, José Antonio’s cell phone rang. He saw it was his boss calling and realized it could only mean one thing. It had been weeks since they had a new client. For almost his entire adult life, José Antonio has worked as a carpenter. He managed to keep his job through past crises, but he knew that this time he wouldn’t be as lucky.\u003c/p>\n\u003cp>“I felt it in my fingertips. But I didn’t even want to think about it because it brought me down,” he says in Spanish. “When I lost my job, all I could think about was how I could buy food for my family. We had no savings, nothing. I had to think fast.”\u003c/p>\n\u003cp>Looking for ideas, the 41-year-old Oakland resident and father of two went on a walk. Once outside, he realized that he forgot his face mask. That was it: \u003cem>face masks\u003c/em>. That was what was going to get him through this.\u003c/p>\n\u003cp>“Necessity, brother. Necessity is the biggest reason that exists in the world. The need to bring home something to eat everyday,” he says. “When you’re in that spot, your brain thinks a lot quicker.” He had no resources to open up a store and doesn’t qualify for federal benefits. But he knows Oakland well, especially his own neighborhood, Fruitvale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A friend who was traveling to Los Angeles for the weekend told him that he was buying boxes with hundreds of face masks on his trip. Turns out these weren’t simple KN95 or blue surgical masks, but instead a wild collection of designs and prints with the logos of European soccer teams, the faces of Mexican banda music superstars and even Spiderman.\u003c/p>\n\u003cp>He bought a small foldable plastic table and pieces of cardboard where he organizes dozens of face masks, each wrapped in plastic. He placed his stand on several blocks throughout Fruitvale until he decided on a parking lot outside a supermarket, near International Boulevard.\u003c/p>\n\u003cp>“People treat me well here, the manager of the supermarket here has been good to us and lets us street vendors sell here,” José Antonio says. He keeps to himself while he works, except to speak to customers. However, he’s started to notice that almost every week, there’s a new face mask seller in Oakland.\u003c/p>\n\u003cp>“There’s a lot of competition, but still space for everyone. Many travel all around the Bay looking for a place to sell,” he explains. A few blocks down International, there’s another mask seller. Get on BART for one stop, and you might meet several more near the Coliseum.\u003c/p>\n\u003cfigure id=\"attachment_13890514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890514 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jose%CC%81-Antonio-and-his-booth-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">After losing his job as a carpenter, José Antonio began selling face masks in Oakland. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People ask me if this is how I do my part to stop the pandemic. And I tell them, of course! Of course I am!” says María. She sells her face masks in San Francisco’s Mission District, near 23rd Street.\u003c/p>\n\u003cp>María is retired and has lived in San Francisco since she arrived from El Salvador 35 years ago. Selling masks helps her cover some expenses, but she started selling so she could have a reason to leave the house, at least on the weekends. “I started to do this because I could no longer stay inside my house everyday. Being alone in the house for five months is so boring. So I wanted to move around, figure out something that would keep me sane,” she says.\u003c/p>\n\u003cp>An experienced street seller, María has sold all kinds of things. Clothing, imitation jewelry, accessories. “But never face masks. I had never even held one until this year,” she laughs. And now she’s honed her skills to find the most unique designs that catch a pedestrian’s eye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s one of her most popular masks? A face mask printed with the Salvadoran president Nayib Bukele, smiling at the camera. “So many people ask for him. People ask for masks with their teams’ logo, their favorite brands—they ask for every type of design! Every type of taste you can imagine!”\u003c/p>\n\u003cp>While she values the aesthetic value of each mask, María cares that each mask actually protects her customers. Sitting on a chair next to her stall, she sees countless used surgical face masks flying through the street. She controls her frustration when she sees someone without one.\u003c/p>\n\u003cp>“One day a man buys me a face mask. The next day, I see him crossing the street with no mask. We can’t force anyone to do anything,” she says. “We can only control what we ourselves do, and for me, that’s making sure people have access to masks they can reuse, that they feel safe with.”\u003c/p>\n\u003cfigure id=\"attachment_13890515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890515 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Mari%CC%81a-at-her-stall-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">María sees her face mask business as a way of keeping her community safe. The Mission district, where she’s based, has one of San Francisco’s highest COVID-19 rates. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The risk of working all day outside is very present in María’s mind. Everyday, she hears in the news how the Mission is one of the neighborhoods in San Francisco most affected by coronavirus. \u003ca href=\"https://data.sfgov.org/stories/s/Maps-of-COVID-19-Cases/adm5-wq8i/\" target=\"_blank\" rel=\"noopener noreferrer\">According to the city\u003c/a>, the current monthly case rate in the Mission is 89 cases per 10,000 people, one of the highest in San Francisco.\u003c/p>\n\u003cp>But she still decides to come out and sell face masks. “I protect myself,” she says. “And I help others protect themselves.”\u003c/p>\n\u003ch2>“You Don’t Let Doors Close on You”\u003c/h2>\n\u003cp>Throughout the Bay Area, dozens of individuals have set up informal stalls on the sidewalk, parking lots and swap meets to sell face masks, an indicator of indispensable and undeniable necessity during the pandemic. Many have little to no experience selling in the streets, but selling face masks has been the only opportunity available during one of the worst economic crises in recent history.\u003c/p>\n\u003cp>“You don’t let doors close on you. If you want to survive, you have to hustle,” says González, who sells masks on Alum Rock Avenue in East San José, and asked to go by only his last name. He worked as a gardener for 15 years before losing his job during the summer. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ever since I came to this country, I’ve reinvented myself many times. To survive. Not to save money, but to survive. And now, face masks help me survive in so many ways,” he says.\u003c/p>\n\u003cp>And while he does not count with a Nayib Bukele mask in his inventory, he still sells masks decorated with the face of another Latin American president, that of Andrés Manuel López Obrador, of México. Not the most popular design, he notes.\u003c/p>\n\u003cp>He takes great care in showing each mask, never removing them from the plastic wrapper. The masks up for display are not for sale. González explains that they’ve been out all day, exposed to all those that pass by. Whenever he sells, he never lets his guard down. The 95116 and 95112 zip codes that make up East San José registers the highest \u003ca href=\"https://www.sccgov.org/sites/covid19/Pages/dashboard-cases-by-zip-code-and-city.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">case rates\u003c/a> in all of Santa Clara County.\u003c/p>\n\u003cfigure id=\"attachment_13890516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Gonza%CC%81lez-at-his-booth-with-Lo%CC%81pez-Obrador-mask-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-2048x1537.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You don’t let doors close on you. If you want to survive, you have to hustle,” says San José face mask vendor González, who lost his job as a gardener during the pandemic. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over in Fruitvale, José Antonio shows the same resolve against similar odds. “I have a responsibility to my family,” he says. Fruitvale has also borne the brunt of the pandemic in Oakland.\u003c/p>\n\u003cp>One of the challenges health officials have faced in Fruitvale is making sure that COVID-19 prevention information reaches the Indigenous community, mostly composed of Mam-speaking immigrants from Guatemala. While public health information is available in both English and Spanish, there’s much less in Mam.\u003c/p>\n\u003cp>Some of the most popular designs at José Antonio’s stall are those embroidered with patterns popular in northern Guatemala, made by Indigenous artisans. “Having this design on is like wearing a small part of your tradition, but presented in a way where it now seems very normal,” he explains.\u003c/p>\n\u003cp>“Many of the people I know don’t want to be targeted when they show that they’re Indigenous,” he continues. “But when they wear a mask with these designs, no one points them out.”\u003c/p>\n\u003ch2>What Your Mask Says\u003c/h2>\n\u003cp>While some mask designs, like those emblazoned with sports teams logos, can be found in every street stand, it’s the handmade masks bearing embroidery crafted by Indigenous artisans that differ from stall to stall, from city to city. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Folks come and feel the texture that is handmade. It’s so different from what exists in stores, all that factory-made stuff,” says César Augusto, whose stand is located on Mission and 23rd in San Francisco. Earlier this year, he was forced to close his store on 24th Street, where he sold craftwork by Indigenous artisans from all over the Americas for 17 years. He and his wife transformed their business into two booths, each full with artwork, earrings, and clothing.\u003c/p>\n\u003cp>“In a way, it was a good thing that we closed. It came at the right time. And now, I can breathe a little easier because I can start again, opening a new path for my wife and I,” he explains. Augusto migrated to the U.S. from Ecuador, where he was raised by a family of artisans. Holding a face mask his family sent him, he ponders on the value this piece of fabric has in his life now.\u003c/p>\n\u003cp>“They’ve become their own type of craftwork. I never imagined this would happen,” he says. The mask he’s wearing also comes from Ecuador, embroidered with Quechua patterns. A customer passes by and asks if he’s got any masks printed with the flag of Honduras. Turns out that they just ran out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Living through the year 2020 tested us. It tried our patience and nerves. It challenged us to find new ways to communicate and socialize. It upended our priorities, pushed our resolve and—let’s be real—stressed us the eff out, daily.\u003c/p>\n\u003cp>So when we asked you, our readers, what helped you get through it all, we were surprised by the outpouring of optimism, creativity and expressions of gratitude we received.\u003c/p>\n\u003cp>Here are just some of the things that got you through this endurance test of a year.\u003c/p>\n\u003ch2>Virtual Community\u003c/h2>\n\u003cfigure id=\"attachment_13890230\" class=\"wp-caption aligncenter\" style=\"max-width: 764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png\" alt=\"Some of the magical animals of ‘In Shelter Zoo'—a project and website created by Michelle L. Morby this year, to battle the isolation of shelter in place.\" width=\"764\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM-160x102.png 160w\" sizes=\"(max-width: 764px) 100vw, 764px\">\u003cfigcaption class=\"wp-caption-text\">Some of the magical animals of ‘In Shelter Zoo’—a project and website created by Michelle L. Morby this year to battle the isolation of shelter in place. \u003ccite>(InShelterZoo.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I created a global interactive project called \u003ca href=\"https://www.inshelterzoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Shelter Zoo\u003c/em>\u003c/a> to combat isolation. All one had to do was make an animal mask out of whatever you had on hand, take a selfie and send it, and I would add it to my conceptual art zoo.” —\u003cem>Michelle L. Morby, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Sending postcards to strangers around the world.” —\u003cem>Julian Roque, Hayward\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Learning Zumba taught by a Canadian-born feminist anthropologist who is a professor at Amherst College. The classes are attended by feminist academics and artists from around the world. It’s life-affirming and shame-free with fab playlists!” —\u003cem>Jennifer Terry, Sea Ranch\u003c/em>\u003c/p>\n\u003cp>“Virtual wine tastings.” —\u003cem>Janine P., San Francisco\u003c/em>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.instagram.com/defectedrecords/\" target=\"_blank\" rel=\"noopener noreferrer\">Defected Records\u003c/a>‘ virtual dance festivals 100% have given me joy, hope, strength, community, presence, and serenity.” —\u003cem>Ruanna Rae, Bay Area\u003c/em>\u003c/p>\n\u003ch2>The Great Outdoors\u003c/h2>\n\u003cfigure id=\"attachment_13890280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg\" alt=\"Jan Richardson's dog\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiking the hills with a dog: what could be better? \u003ccite>(Jan Richardson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Faith that the next day would get better. The comfort of my dog and hiking the beautiful hills of the Bay Area.” —\u003cem>Jan Richardson, Danville\u003c/em>\u003c/p>\n\u003cp>“To combat pandemic-related anger, I’ve been taking evening dips in the bay from East Beach at Crissy Field. In up to my chest just a few yards offshore, within a few minutes I feel rejuvenated by the literal shift in perspective and cold shock.” —\u003cem>Britta Shoot, San Francisco\u003c/em>\u003c/p>\n\u003cp>“I have ongoing, non-COVID health problems that keep me close to home. So my photography hobby has been a key ingredient in keeping things together. That and our backyard, with its birds and flowers. I’ve documented the backyard thoroughly!” —\u003cem>David Evan Hughes, Lincoln\u003c/em>\u003c/p>\n\u003cp>“Rowing in the San Francisco bay.” —\u003cem>Demian Quesnel, San Francisco\u003c/em>\u003c/p>\n\u003cp>“My bike, my engineer, my financial guy, my lawyer, and my priest. We ride bikes together. Sometimes 22 miles, sometimes 52 miles, even 102.” —\u003cem>Peter Wise, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Since gyms got shut down, I started doing ’80s aerobics interspersed with weight and dance routines on our deck overlooking Linda Mar Beach. With headphones, no one can hear my music, but they can see me getting down!” —\u003cem>Nancy Capone Beeman, Pacifica\u003c/em>\u003c/p>\n\u003ch2>Artistic Expression\u003c/h2>\n\u003cfigure id=\"attachment_13890252\" class=\"wp-caption aligncenter\" style=\"max-width: 662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png\" alt=\"A selection of work from Meredith Steele's 100 paintings of Oakland.\" width=\"662\" height=\"659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png 662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM-160x159.png 160w\" sizes=\"(max-width: 662px) 100vw, 662px\">\u003cfigcaption class=\"wp-caption-text\">A selection of work from Meredith Steele’s 100 paintings of Oakland. \u003ccite>(Instagram/@meredith_steele_)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Taking on a project of painting \u003ca href=\"http://www.meredithsteele.com/oaklandpaintings\" target=\"_blank\" rel=\"noopener noreferrer\">100 paintings of Oakland\u003c/a>. It kept me focused!” —\u003cem>Meredith Steele, Oakland\u003c/em>\u003c/p>\n\u003cp>“Making art, even when it hurt.” —\u003cem>Katy Kuhn, Mill Valley\u003c/em>\u003c/p>\n\u003cp>“Stuck in lockdown, bored to tears, I decided to dress up my front yard. The circle drive is bordered by two short grape-stake fences. So I pulled out my paint pots and got to work. I painted each fence to look like a row of colored pencils.” —\u003cem>Judith Morley, Menlo Park\u003c/em>\u003c/p>\n\u003cp>“My mate and I learned a modern take on an very old art form: beading. I suggested it to her as a more zenful way to unwind from her stressful job. She was sold after seeing the modern works of people like Jan Huling, Betsy Youngquist and Nancy Joseph.” —\u003cem>Ann Morgan, Oakland\u003c/em>\u003c/p>\n\u003cp>“I set out to photograph every mural on a boarded up business that I could. Inspired me, gave me hope, cleared my head and helped keep me grounded and sane. \u003ca href=\"https://www.instagram.com/plywoodmurals/\" target=\"_blank\" rel=\"noopener noreferrer\">Check them out\u003c/a>!” —\u003cem>Hildur Carlen, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Walking the streets of Oakland with my young son, taking in all the urban visual information, which led to five new artwork series. So far I’ve posted 45 of these works on paper on \u003ca href=\"https://ivettevallejo.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">my website\u003c/a>.” —\u003cem>Ivette, Vallejo\u003c/em>\u003c/p>\n\u003ch2>Musical Exploration\u003c/h2>\n\u003cfigure id=\"attachment_13890281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg\" alt=\"Matthew Levitt's record collection\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When in doubt, buy more records. 😉 \u003ccite>(Matthew Levitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found a lot of comfort listening to my records. I bought some irresponsibly expensive headphones and practically doubled my record collection. I listen to a few albums almost every day.” —\u003cem>Matthew Levitt, Alameda\u003c/em>\u003c/p>\n\u003cp>“Listening to the radio! You can be part of a community, while in your home or car.” —\u003cem>Barrett Jayne, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“Learning how to play drums and starting a punk band.” —\u003cem>Meerenai Shim, Campbell\u003c/em>\u003c/p>\n\u003cp>“I started a new label with my best friend of 15 years and put out an album in April. I worked on three albums and one is coming out in January. I discovered I have Aspergers, smashed petty beefs, and worked on my house.” —\u003cem>Muslim Delgado, Oakland\u003c/em>\u003c/p>\n\u003cp>“I have survived this year by listening to a lot of calming music, taking daily brisk walks where there aren’t a lot of people, following the science around COVID, helping my candidates get elected, and texting a lot with friends and family.” —\u003cem>Carol Akawie Schneider, Oakland\u003c/em>\u003c/p>\n\u003ch2>Family Time\u003c/h2>\n\u003cfigure id=\"attachment_13890282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/kittens-800x600.jpeg\" alt=\"Kittens fresh from the good people at the Sonoma County Humane Society.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kittens fresh from the good people at the Sonoma County Humane Society. \u003ccite>(Meghan West)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Kittens! After miniaturizing our April wedding, then moving, my husband and I got two kittens from the local Humane Society. They are such a delight and make us smile so many times each day.” —\u003cem>Meghan West, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“The most important thing that got me through 2020 was being in a bubble with my daughter, her partner and my three grandkids. Seeing them almost every day and sharing our ‘buds and thorns’ about our day kept me sane.” —\u003cem>Aggie Briscoe, Oakland\u003c/em>\u003c/p>\n\u003cp>“I recorded E.B. White books for my grandson. With the uncertainty of each day, it was sweet to enter White’s gentle world of curious and collaborating animals, and share it with a special child.” —\u003cem>Susan Giacomini Allan, Inverness\u003c/em>\u003c/p>\n\u003cp>“Daily walks with my dogs, and my husband’s cooking.” —\u003cem>Barbara Thomson, Nicasio\u003c/em>\u003c/p>\n\u003cp>“My neighbors and my daughter in SF. They did my grocery shopping and errands to keep my exposure (at age 90) to COVID-19 to a minimum. Good folks!” —\u003cem>Alison C. Fuller, San Rafael\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“What got me through 2020 so far is our grandson who lives in London and was only four months old when COVID got worse. Our daughter continuously sent us photos, videos and we Facetimed at least 4-5 times a week. Watching him grow kept us going.” —\u003cem>Neelima Pandit, Santa Rosa\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Living through the year 2020 tested us. It tried our patience and nerves. It challenged us to find new ways to communicate and socialize. It upended our priorities, pushed our resolve and—let’s be real—stressed us the eff out, daily.\u003c/p>\n\u003cp>So when we asked you, our readers, what helped you get through it all, we were surprised by the outpouring of optimism, creativity and expressions of gratitude we received.\u003c/p>\n\u003cp>Here are just some of the things that got you through this endurance test of a year.\u003c/p>\n\u003ch2>Virtual Community\u003c/h2>\n\u003cfigure id=\"attachment_13890230\" class=\"wp-caption aligncenter\" style=\"max-width: 764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png\" alt=\"Some of the magical animals of ‘In Shelter Zoo'—a project and website created by Michelle L. Morby this year, to battle the isolation of shelter in place.\" width=\"764\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM-160x102.png 160w\" sizes=\"(max-width: 764px) 100vw, 764px\">\u003cfigcaption class=\"wp-caption-text\">Some of the magical animals of ‘In Shelter Zoo’—a project and website created by Michelle L. Morby this year to battle the isolation of shelter in place. \u003ccite>(InShelterZoo.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I created a global interactive project called \u003ca href=\"https://www.inshelterzoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Shelter Zoo\u003c/em>\u003c/a> to combat isolation. All one had to do was make an animal mask out of whatever you had on hand, take a selfie and send it, and I would add it to my conceptual art zoo.” —\u003cem>Michelle L. Morby, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Sending postcards to strangers around the world.” —\u003cem>Julian Roque, Hayward\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Learning Zumba taught by a Canadian-born feminist anthropologist who is a professor at Amherst College. The classes are attended by feminist academics and artists from around the world. It’s life-affirming and shame-free with fab playlists!” —\u003cem>Jennifer Terry, Sea Ranch\u003c/em>\u003c/p>\n\u003cp>“Virtual wine tastings.” —\u003cem>Janine P., San Francisco\u003c/em>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.instagram.com/defectedrecords/\" target=\"_blank\" rel=\"noopener noreferrer\">Defected Records\u003c/a>‘ virtual dance festivals 100% have given me joy, hope, strength, community, presence, and serenity.” —\u003cem>Ruanna Rae, Bay Area\u003c/em>\u003c/p>\n\u003ch2>The Great Outdoors\u003c/h2>\n\u003cfigure id=\"attachment_13890280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg\" alt=\"Jan Richardson's dog\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiking the hills with a dog: what could be better? \u003ccite>(Jan Richardson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Faith that the next day would get better. The comfort of my dog and hiking the beautiful hills of the Bay Area.” —\u003cem>Jan Richardson, Danville\u003c/em>\u003c/p>\n\u003cp>“To combat pandemic-related anger, I’ve been taking evening dips in the bay from East Beach at Crissy Field. In up to my chest just a few yards offshore, within a few minutes I feel rejuvenated by the literal shift in perspective and cold shock.” —\u003cem>Britta Shoot, San Francisco\u003c/em>\u003c/p>\n\u003cp>“I have ongoing, non-COVID health problems that keep me close to home. So my photography hobby has been a key ingredient in keeping things together. That and our backyard, with its birds and flowers. I’ve documented the backyard thoroughly!” —\u003cem>David Evan Hughes, Lincoln\u003c/em>\u003c/p>\n\u003cp>“Rowing in the San Francisco bay.” —\u003cem>Demian Quesnel, San Francisco\u003c/em>\u003c/p>\n\u003cp>“My bike, my engineer, my financial guy, my lawyer, and my priest. We ride bikes together. Sometimes 22 miles, sometimes 52 miles, even 102.” —\u003cem>Peter Wise, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Since gyms got shut down, I started doing ’80s aerobics interspersed with weight and dance routines on our deck overlooking Linda Mar Beach. With headphones, no one can hear my music, but they can see me getting down!” —\u003cem>Nancy Capone Beeman, Pacifica\u003c/em>\u003c/p>\n\u003ch2>Artistic Expression\u003c/h2>\n\u003cfigure id=\"attachment_13890252\" class=\"wp-caption aligncenter\" style=\"max-width: 662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png\" alt=\"A selection of work from Meredith Steele's 100 paintings of Oakland.\" width=\"662\" height=\"659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png 662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM-160x159.png 160w\" sizes=\"(max-width: 662px) 100vw, 662px\">\u003cfigcaption class=\"wp-caption-text\">A selection of work from Meredith Steele’s 100 paintings of Oakland. \u003ccite>(Instagram/@meredith_steele_)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Taking on a project of painting \u003ca href=\"http://www.meredithsteele.com/oaklandpaintings\" target=\"_blank\" rel=\"noopener noreferrer\">100 paintings of Oakland\u003c/a>. It kept me focused!” —\u003cem>Meredith Steele, Oakland\u003c/em>\u003c/p>\n\u003cp>“Making art, even when it hurt.” —\u003cem>Katy Kuhn, Mill Valley\u003c/em>\u003c/p>\n\u003cp>“Stuck in lockdown, bored to tears, I decided to dress up my front yard. The circle drive is bordered by two short grape-stake fences. So I pulled out my paint pots and got to work. I painted each fence to look like a row of colored pencils.” —\u003cem>Judith Morley, Menlo Park\u003c/em>\u003c/p>\n\u003cp>“My mate and I learned a modern take on an very old art form: beading. I suggested it to her as a more zenful way to unwind from her stressful job. She was sold after seeing the modern works of people like Jan Huling, Betsy Youngquist and Nancy Joseph.” —\u003cem>Ann Morgan, Oakland\u003c/em>\u003c/p>\n\u003cp>“I set out to photograph every mural on a boarded up business that I could. Inspired me, gave me hope, cleared my head and helped keep me grounded and sane. \u003ca href=\"https://www.instagram.com/plywoodmurals/\" target=\"_blank\" rel=\"noopener noreferrer\">Check them out\u003c/a>!” —\u003cem>Hildur Carlen, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Walking the streets of Oakland with my young son, taking in all the urban visual information, which led to five new artwork series. So far I’ve posted 45 of these works on paper on \u003ca href=\"https://ivettevallejo.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">my website\u003c/a>.” —\u003cem>Ivette, Vallejo\u003c/em>\u003c/p>\n\u003ch2>Musical Exploration\u003c/h2>\n\u003cfigure id=\"attachment_13890281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg\" alt=\"Matthew Levitt's record collection\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When in doubt, buy more records. 😉 \u003ccite>(Matthew Levitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found a lot of comfort listening to my records. I bought some irresponsibly expensive headphones and practically doubled my record collection. I listen to a few albums almost every day.” —\u003cem>Matthew Levitt, Alameda\u003c/em>\u003c/p>\n\u003cp>“Listening to the radio! You can be part of a community, while in your home or car.” —\u003cem>Barrett Jayne, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“Learning how to play drums and starting a punk band.” —\u003cem>Meerenai Shim, Campbell\u003c/em>\u003c/p>\n\u003cp>“I started a new label with my best friend of 15 years and put out an album in April. I worked on three albums and one is coming out in January. I discovered I have Aspergers, smashed petty beefs, and worked on my house.” —\u003cem>Muslim Delgado, Oakland\u003c/em>\u003c/p>\n\u003cp>“I have survived this year by listening to a lot of calming music, taking daily brisk walks where there aren’t a lot of people, following the science around COVID, helping my candidates get elected, and texting a lot with friends and family.” —\u003cem>Carol Akawie Schneider, Oakland\u003c/em>\u003c/p>\n\u003ch2>Family Time\u003c/h2>\n\u003cfigure id=\"attachment_13890282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/kittens-800x600.jpeg\" alt=\"Kittens fresh from the good people at the Sonoma County Humane Society.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kittens fresh from the good people at the Sonoma County Humane Society. \u003ccite>(Meghan West)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Kittens! After miniaturizing our April wedding, then moving, my husband and I got two kittens from the local Humane Society. They are such a delight and make us smile so many times each day.” —\u003cem>Meghan West, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“The most important thing that got me through 2020 was being in a bubble with my daughter, her partner and my three grandkids. Seeing them almost every day and sharing our ‘buds and thorns’ about our day kept me sane.” —\u003cem>Aggie Briscoe, Oakland\u003c/em>\u003c/p>\n\u003cp>“I recorded E.B. White books for my grandson. With the uncertainty of each day, it was sweet to enter White’s gentle world of curious and collaborating animals, and share it with a special child.” —\u003cem>Susan Giacomini Allan, Inverness\u003c/em>\u003c/p>\n\u003cp>“Daily walks with my dogs, and my husband’s cooking.” —\u003cem>Barbara Thomson, Nicasio\u003c/em>\u003c/p>\n\u003cp>“My neighbors and my daughter in SF. They did my grocery shopping and errands to keep my exposure (at age 90) to COVID-19 to a minimum. Good folks!” —\u003cem>Alison C. Fuller, San Rafael\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
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