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"content": "\u003cp>Yerba Buena Center for the Arts on Tuesday launched \u003ca href=\"https://ybca.org/artist-power-center/\">Artist Power Center\u003c/a>, a web and hotline resource for artists affected by the novel coronavirus to access relief funds and peer support.\u003c/p>\n\u003cp>The national resource, supported by San Francisco software company Zendesk, relies on YBCA staff to alert artists to grants and other economic relief opportunities and provide personalized guidance. As Deborah Cullinan, YBCA’s chief executive, described the service in an interview: “As soon as we learn of something that can help you or move you forward you’re going to hear about it.” The site also includes a forum for artists to share resources amongst themselves.\u003c/p>\n\u003cp>Ninety-five percent of artists in the United States have lost income due to the COVID-19 pandemic, according to Americans for the Arts. In response, a growing number of relief funds have emerged. Yet confusing eligibility requirements and application processes pose barriers to accessing the aid, and demand is so great that most funds are depleted in days. Such hurdles threaten to restrict help to artists fluent in nonprofit argot who can monitor the web nonstop. [aside postID=arts_13876893,arts_13877348,arts_13878711]\u003c/p>\n\u003cp>Enter the Artist Power Center. YBCA, one of few major local cultural organizations to avoid staff layoffs, has committed four workers to researching opportunities and ten to provide call and text support in Spanish and English during business hours Monday–Friday. The project is funded for at least the next six months, and Cullinan hopes it will remain a useful resource after the pandemic, especially as the forum section attracts and fosters more interaction between artists.\u003c/p>\n\u003cp>YBCA has taken a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">strong\u003c/a> role in San Francisco arts advocacy, and the Power Center grows out of its own recent emergency grant initiative. Collaborating with Zoo Labs, Always Win Together and the Black Joy Parade, YBCA last month expended a $130,000 \u003ca href=\"https://www.artistsnow.us/\">fund\u003c/a> for artists who identify as women, people of color and LQBTQIA+ in a few days. “People were grateful it was easy,” Cullinan said. “So this is a quick response to help people navigate relief funds nationwide.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland curator \u003ca href=\"https://www.asharaekundayogallery.com/\">Ashara Ekundayo\u003c/a>, who worked as a consultant on the resource, said the Power Center has the potential to help mitigate the economic as well as emotional toll of the pandemic on artists. “Artists and culture workers are deeply impacted by shelter in place, and applying for grants can be a huge psychic and emotional toll,” she said. Ekundayo said she personally sought several grants unsuccessfully, acquainting her with “application anxiety.”\u003c/p>\n\u003cp>That’s one of the initial topics in the forum section, alongside “Arts Education,” “Our Well-Being” and “Word Power.” The approach is holistic, said Lucia Momoh, a Berkeley Art Museum and Pacific Film Archive curator who participated in a Power Center focus group. “It can be a resource not just for funding but the challenges that surface when you’re looking for funding.” The section currently features initial contributions by Angela Wellman and Emanuel Brown. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.samvernon.com/\">Sam Vernon\u003c/a>, an artist and California College of the Arts professor who also gave feedback on the project, believes the Power Center can reinforce mutual-aid efforts that have arisen among artists. “On social media the information comes in and out of view really quickly,” she said. “This aggregates the information with a friendly user experience.” The forum and hotline services, Vernon added, can help pierce the jargon that often stands between funders and artists. “Sometimes the person you need to talk to is just another artist who’s had the same questions.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yerba Buena Center for the Arts on Tuesday launched \u003ca href=\"https://ybca.org/artist-power-center/\">Artist Power Center\u003c/a>, a web and hotline resource for artists affected by the novel coronavirus to access relief funds and peer support.\u003c/p>\n\u003cp>The national resource, supported by San Francisco software company Zendesk, relies on YBCA staff to alert artists to grants and other economic relief opportunities and provide personalized guidance. As Deborah Cullinan, YBCA’s chief executive, described the service in an interview: “As soon as we learn of something that can help you or move you forward you’re going to hear about it.” The site also includes a forum for artists to share resources amongst themselves.\u003c/p>\n\u003cp>Ninety-five percent of artists in the United States have lost income due to the COVID-19 pandemic, according to Americans for the Arts. In response, a growing number of relief funds have emerged. Yet confusing eligibility requirements and application processes pose barriers to accessing the aid, and demand is so great that most funds are depleted in days. Such hurdles threaten to restrict help to artists fluent in nonprofit argot who can monitor the web nonstop. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter the Artist Power Center. YBCA, one of few major local cultural organizations to avoid staff layoffs, has committed four workers to researching opportunities and ten to provide call and text support in Spanish and English during business hours Monday–Friday. The project is funded for at least the next six months, and Cullinan hopes it will remain a useful resource after the pandemic, especially as the forum section attracts and fosters more interaction between artists.\u003c/p>\n\u003cp>YBCA has taken a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">strong\u003c/a> role in San Francisco arts advocacy, and the Power Center grows out of its own recent emergency grant initiative. Collaborating with Zoo Labs, Always Win Together and the Black Joy Parade, YBCA last month expended a $130,000 \u003ca href=\"https://www.artistsnow.us/\">fund\u003c/a> for artists who identify as women, people of color and LQBTQIA+ in a few days. “People were grateful it was easy,” Cullinan said. “So this is a quick response to help people navigate relief funds nationwide.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland curator \u003ca href=\"https://www.asharaekundayogallery.com/\">Ashara Ekundayo\u003c/a>, who worked as a consultant on the resource, said the Power Center has the potential to help mitigate the economic as well as emotional toll of the pandemic on artists. “Artists and culture workers are deeply impacted by shelter in place, and applying for grants can be a huge psychic and emotional toll,” she said. Ekundayo said she personally sought several grants unsuccessfully, acquainting her with “application anxiety.”\u003c/p>\n\u003cp>That’s one of the initial topics in the forum section, alongside “Arts Education,” “Our Well-Being” and “Word Power.” The approach is holistic, said Lucia Momoh, a Berkeley Art Museum and Pacific Film Archive curator who participated in a Power Center focus group. “It can be a resource not just for funding but the challenges that surface when you’re looking for funding.” The section currently features initial contributions by Angela Wellman and Emanuel Brown. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.samvernon.com/\">Sam Vernon\u003c/a>, an artist and California College of the Arts professor who also gave feedback on the project, believes the Power Center can reinforce mutual-aid efforts that have arisen among artists. “On social media the information comes in and out of view really quickly,” she said. “This aggregates the information with a friendly user experience.” The forum and hotline services, Vernon added, can help pierce the jargon that often stands between funders and artists. “Sometimes the person you need to talk to is just another artist who’s had the same questions.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cue the \u003cem>Hamilton\u003c/em> quotes: Soon, the room where it happens will be your living room! Shout it to the rooftops that the Broadway sensation \u003cem>Hamilton\u003c/em> will be available for home viewing this summer! Look around, look around to see how lucky we are to be alive in a world where \u003cem>Hamilton\u003c/em> is coming to Disney+ on July 3, more than 15 months ahead of schedule!\u003c/p>\n\u003cp>Earlier this year, creator and star Lin-Manuel Miranda announced that a \u003cem>Hamilton\u003c/em> movie — filmed in 2016 with the original Broadway cast at New York’s Richard Rodgers Theatre — was coming to theaters in October 2021. Given the show’s continued popularity on stage — it won 11 Tony Awards, spun off popular albums and books, spawned multiple successful touring companies and became an all-around pop-culture sensation — the announcement of a considerably less pricey theatrical release was a welcome surprise.\u003c/p>\n\u003cp>But Tuesday morning, Miranda \u003ca href=\"https://twitter.com/Lin_Manuel/status/1260181905909129216?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\">tweeted\u003c/a> that fans wouldn’t have to wait even that long: The recording will likely bypass theatrical release entirely, and will instead come to the streaming service Disney+ in July, less than two months from today.\u003c/p>\n\u003cp>It’s a major coup for Disney+ in its bid to compete with heavy-hitting streaming services like Netflix and Hulu — and a major boon for \u003cem>Hamilton\u003c/em> fans and viewers who’ve fretted about the uncertainty surrounding this year’s summer movies with theaters still closed due to COVID-19. It’s no doubt less welcome news for those theaters, which have lost enormous business due to the combination of closures and home streaming. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 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=%27Hamilton%27+Coming+To+Disney%2B+On+July+3%2C+Bypassing+2021+Theatrical+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Little Richard, the self-proclaimed “architect of rock ‘n’ roll” whose piercing wail, pounding piano and towering pompadour irrevocably altered popular music while introducing black R&B to white America, died Saturday. He was 87.\u003c/p>\n\u003cp>Pastor Bill Minson, a close friend of Little Richard’s, told The Associated Press that Little Richard died Saturday morning. Minson said he also spoke to Little Richard’s son and brother.\u003c/p>\n\u003cp>Minson added that the family is not releasing the cause of death.\u003c/p>\n\u003cp>Born Richard Penniman, Little Richard was one of rock ‘n’ roll’s founding fathers who helped shatter the color line on the music charts, joining Chuck Berry and Fats Domino in bringing what was once called “race music” into the mainstream. Richard’s hyperkinetic piano playing, coupled with his howling vocals and hairdo, made him an implausible sensation — a gay, black man celebrated across America during the buttoned-down Eisenhower era.\u003c/p>\n\u003cp>He sold more than 30 million records worldwide, and his influence on other musicians was equally staggering, from the Beatles and Otis Redding to Creedence Clearwater Revival and David Bowie. In his personal life, he wavered between raunch and religion, alternately embracing the Good Book and outrageous behavior.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Little Richard? That’s rock ‘n’ roll,” Neil Young, who heard Richard’s riffs on the radio in Canada, told biographer Jimmy McDonough. “Little Richard was great on every record.”\u003c/p>\n\u003cp>It was 1956 when his classic “Tutti Frutti” landed like a hand grenade in the Top 40, exploding from radios and off turntables across the country. It was highlighted by Richard’s memorable call of “wop-bop-a-loo-bop-a-lop-bam-boom.”\u003c/p>\n\u003cp>A string of hits followed, providing the foundation of rock music: “Lucille,” “Keep A Knockin’,” “Long Tall Sally,” “Good Golly Miss Molly.” More than 40 years after the latter charted, Bruce Springsteen was still performing “Good Golly Miss Molly” live.\u003c/p>\n\u003cp>The Beatles’ Paul McCartney imitated Richard’s signature yelps — perhaps most notably in the “Wooooo!” from the hit “She Loves You.” Ex-bandmate John Lennon covered Richard’s “Rip It Up” and “Ready Teddy” on the 1975 “Rock and Roll” album.\u003c/p>\n\u003cp>When the Rock and Roll Hall of Fame opened in 1986, he was among the charter members with Elvis Presley, Berry, Buddy Holly, Jerry Lee Lewis, Sam Cooke and others.\u003c/p>\n\u003cp>Few were quicker to acknowledge Little Richard’s seminal role than Richard himself. The flamboyant singer claimed he paved the way for Elvis, provided Mick Jagger with his stage moves and conducted vocal lessons for McCartney.\u003c/p>\n\u003cp>“I am the architect of rock ‘n’ roll!” Little Richard crowed at the 1988 Grammy Awards as the crowd rose in a standing ovation. “I am the originator!”\u003c/p>\n\u003cp>Richard Wayne Penniman was born in Macon, Georgia, during the Great Depression, one of 12 children. He was ostracized because he was effeminate and suffered a small deformity: his right leg was shorter than his left.\u003c/p>\n\u003cp>The family was religious, and Richard sang in local churches with a group called the Tiny Tots. The tug-of-war between his upbringing and rock ‘n’ roll excess tormented Penniman throughout his career.\u003c/p>\n\u003cp>Penniman was performing with bands by the age of 14, but there were problems at home over his sexual orientation. His father beat the boy and derided him as “half a son.”\u003c/p>\n\u003cp>Richard left home to join a minstrel show run by a man known as Sugarloaf Sam, occasionally appearing in drag.\u003c/p>\n\u003cp>In late 1955, Little Richard recorded the bawdy “Tutti Frutti,” with lyrics that were sanitized by a New Orleans songwriter. It went on to sell 1 million records over the next year.\u003c/p>\n\u003cp>When Little Richard’s hit was banned by many white-owned radio stations, white performers like Pat Boone and Elvis Presley did cover versions that topped the charts.\u003c/p>\n\u003cp>Little Richard went Hollywood with an appearance in “Don’t Knock the Rock.” But his wild lifestyle remained at odds with his faith, and a conflicted Richard quit the business in 1957 to enroll in a theological school and get married.\u003c/p>\n\u003cp>Richard remained on the charts when his label released previously recorded material. And he recorded a gospel record, returning to his roots.\u003c/p>\n\u003cp>A 1962 arrest for a homosexual encounter in a bus station restroom led to his divorce and return to performing.\u003c/p>\n\u003cp>He mounted three tours of England between 1962 and 1964, with the Beatles and the Rolling Stones serving as opening acts. Back in the States, he put together a band that included guitarist Jimi Hendrix — and later fired Hendrix when he was late for a bus.\u003c/p>\n\u003cp>In 1968, Richard hit Las Vegas and relaunched his career. Within two years, he had another hit single and made the cover of Rolling Stone.\u003c/p>\n\u003cp>By the mid-1970s, Richard was battling a $1,000-a-day cocaine problem and once again abandoned his musical career. He returned to religion, selling Bibles and renouncing homosexuality. For more than a decade, he vanished.\u003c/p>\n\u003cp>“If God can save an old homosexual like me, he can save anybody,” Richard said.\u003c/p>\n\u003cp>But he returned, in 1986, in spectacular fashion. Little Richard was inducted into the Rock and Roll Hall of Fame, and appeared in the movie “Down and Out in Beverly Hills.”\u003c/p>\n\u003cp>A Little Richard song from the soundtrack, “Great Gosh A’Mighty,” even put him back on the charts for the first time in more than 15 years. Little Richard was back to stay, enjoying another dose of celebrity that he fully embraced.\u003c/p>\n\u003cp>Macon, Georgia, named a street after its favorite son. And Little Richard was given a star on the Hollywood Walk of Fame. In August 2002, he announced his retirement from live performing. But he continued to appear frequently on television, including a humorous appearance on a 2006 commercial for GEICO insurance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richard had hip surgery in November 2009 at Vanderbilt University Medical Center in Nashville, and asked fans at the time to pray for him. He lived in the Nashville area at the time.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Little Richard, the self-proclaimed “architect of rock ‘n’ roll” whose piercing wail, pounding piano and towering pompadour irrevocably altered popular music while introducing black R&B to white America, died Saturday. He was 87.\u003c/p>\n\u003cp>Pastor Bill Minson, a close friend of Little Richard’s, told The Associated Press that Little Richard died Saturday morning. Minson said he also spoke to Little Richard’s son and brother.\u003c/p>\n\u003cp>Minson added that the family is not releasing the cause of death.\u003c/p>\n\u003cp>Born Richard Penniman, Little Richard was one of rock ‘n’ roll’s founding fathers who helped shatter the color line on the music charts, joining Chuck Berry and Fats Domino in bringing what was once called “race music” into the mainstream. Richard’s hyperkinetic piano playing, coupled with his howling vocals and hairdo, made him an implausible sensation — a gay, black man celebrated across America during the buttoned-down Eisenhower era.\u003c/p>\n\u003cp>He sold more than 30 million records worldwide, and his influence on other musicians was equally staggering, from the Beatles and Otis Redding to Creedence Clearwater Revival and David Bowie. In his personal life, he wavered between raunch and religion, alternately embracing the Good Book and outrageous behavior.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Little Richard? That’s rock ‘n’ roll,” Neil Young, who heard Richard’s riffs on the radio in Canada, told biographer Jimmy McDonough. “Little Richard was great on every record.”\u003c/p>\n\u003cp>It was 1956 when his classic “Tutti Frutti” landed like a hand grenade in the Top 40, exploding from radios and off turntables across the country. It was highlighted by Richard’s memorable call of “wop-bop-a-loo-bop-a-lop-bam-boom.”\u003c/p>\n\u003cp>A string of hits followed, providing the foundation of rock music: “Lucille,” “Keep A Knockin’,” “Long Tall Sally,” “Good Golly Miss Molly.” More than 40 years after the latter charted, Bruce Springsteen was still performing “Good Golly Miss Molly” live.\u003c/p>\n\u003cp>The Beatles’ Paul McCartney imitated Richard’s signature yelps — perhaps most notably in the “Wooooo!” from the hit “She Loves You.” Ex-bandmate John Lennon covered Richard’s “Rip It Up” and “Ready Teddy” on the 1975 “Rock and Roll” album.\u003c/p>\n\u003cp>When the Rock and Roll Hall of Fame opened in 1986, he was among the charter members with Elvis Presley, Berry, Buddy Holly, Jerry Lee Lewis, Sam Cooke and others.\u003c/p>\n\u003cp>Few were quicker to acknowledge Little Richard’s seminal role than Richard himself. The flamboyant singer claimed he paved the way for Elvis, provided Mick Jagger with his stage moves and conducted vocal lessons for McCartney.\u003c/p>\n\u003cp>“I am the architect of rock ‘n’ roll!” Little Richard crowed at the 1988 Grammy Awards as the crowd rose in a standing ovation. “I am the originator!”\u003c/p>\n\u003cp>Richard Wayne Penniman was born in Macon, Georgia, during the Great Depression, one of 12 children. He was ostracized because he was effeminate and suffered a small deformity: his right leg was shorter than his left.\u003c/p>\n\u003cp>The family was religious, and Richard sang in local churches with a group called the Tiny Tots. The tug-of-war between his upbringing and rock ‘n’ roll excess tormented Penniman throughout his career.\u003c/p>\n\u003cp>Penniman was performing with bands by the age of 14, but there were problems at home over his sexual orientation. His father beat the boy and derided him as “half a son.”\u003c/p>\n\u003cp>Richard left home to join a minstrel show run by a man known as Sugarloaf Sam, occasionally appearing in drag.\u003c/p>\n\u003cp>In late 1955, Little Richard recorded the bawdy “Tutti Frutti,” with lyrics that were sanitized by a New Orleans songwriter. It went on to sell 1 million records over the next year.\u003c/p>\n\u003cp>When Little Richard’s hit was banned by many white-owned radio stations, white performers like Pat Boone and Elvis Presley did cover versions that topped the charts.\u003c/p>\n\u003cp>Little Richard went Hollywood with an appearance in “Don’t Knock the Rock.” But his wild lifestyle remained at odds with his faith, and a conflicted Richard quit the business in 1957 to enroll in a theological school and get married.\u003c/p>\n\u003cp>Richard remained on the charts when his label released previously recorded material. And he recorded a gospel record, returning to his roots.\u003c/p>\n\u003cp>A 1962 arrest for a homosexual encounter in a bus station restroom led to his divorce and return to performing.\u003c/p>\n\u003cp>He mounted three tours of England between 1962 and 1964, with the Beatles and the Rolling Stones serving as opening acts. Back in the States, he put together a band that included guitarist Jimi Hendrix — and later fired Hendrix when he was late for a bus.\u003c/p>\n\u003cp>In 1968, Richard hit Las Vegas and relaunched his career. Within two years, he had another hit single and made the cover of Rolling Stone.\u003c/p>\n\u003cp>By the mid-1970s, Richard was battling a $1,000-a-day cocaine problem and once again abandoned his musical career. He returned to religion, selling Bibles and renouncing homosexuality. For more than a decade, he vanished.\u003c/p>\n\u003cp>“If God can save an old homosexual like me, he can save anybody,” Richard said.\u003c/p>\n\u003cp>But he returned, in 1986, in spectacular fashion. Little Richard was inducted into the Rock and Roll Hall of Fame, and appeared in the movie “Down and Out in Beverly Hills.”\u003c/p>\n\u003cp>A Little Richard song from the soundtrack, “Great Gosh A’Mighty,” even put him back on the charts for the first time in more than 15 years. Little Richard was back to stay, enjoying another dose of celebrity that he fully embraced.\u003c/p>\n\u003cp>Macon, Georgia, named a street after its favorite son. And Little Richard was given a star on the Hollywood Walk of Fame. In August 2002, he announced his retirement from live performing. But he continued to appear frequently on television, including a humorous appearance on a 2006 commercial for GEICO insurance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Richard had hip surgery in November 2009 at Vanderbilt University Medical Center in Nashville, and asked fans at the time to pray for him. He lived in the Nashville area at the time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Liam Curley, warehouse manager at \u003ca href=\"https://www.spdbooks.org/\">Small Press Distribution\u003c/a> (SPD), the nation’s only nonprofit literary distributor, has for the past seven weeks worked by himself. Shipments to and from the 6,400-square-foot warehouse in Berkeley have slowed to a steady trickle. One morning recently, he parked his sedan on 7th Street. The bumper sticker says, “Driver carries no cash, they’re a poet.” He wore purple latex gloves and an N95 respirator, and walked through the dark office and kitchen towards the rows of some 350,000 books from independent publishers. The mask, Curley said, was actually a leftover from the last wildfire season. “The warehouse is very porous.”\u003c/p>\n\u003cp>Curley, 30, nodded to a cluttered desk with a computer monitor still alight, as if it had been abandoned in a hurry. “Everyone else is remote,” he said. “But you can see the ghost in the machine.” He could’ve been talking about himself: Curley plays a critical but little-seen role in the literary supply chain, especially for shut-in readers reluctant to buy on Amazon. (Curley alternates days with an assistant, Shawn El.) With bookstores closed, SPD’s revenue is down 60 percent, but he still packs more than a hundred orders daily, mainly for Amazon and direct sales. In the kitchen, a copy of the latest \u003cem>Publishers Weekly\u003c/em> declared, “Books are essential.” Curley has doubts. “Books aren’t saving lives,” he said. “But it’s really about standing together as an industry.”\u003c/p>\n\u003cp>SPD, founded in Berkeley in 1969, has weathered decades of industry consolidation to persevere as one of few distributors still committed to small publishers. It markets and distributes titles from some 400 presses, selling to independent and college bookshops, wholesalers such as Ingram, online retailers including Amazon and individuals through its own site. As a nonprofit, it also receives key grant funding. In the past 20 years, SPD has actually grown. Last year, it moved four times as many books as it did in 1999. Now, the distributor is crowdfunding to cover payroll and health insurance for 10 employees. And readers, eager to support independent literature from home, are rallying like never before to support a business with little profile outside of its industry.\u003c/p>\n\u003cfigure id=\"attachment_13879796\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Front-Sign.jpg\" alt=\"Small Press Distribution, founded in 1969, has operated out of this Berkeley warehouse since 1995.\" width=\"1920\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-1020x600.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, founded in 1969, has operated out of this Berkeley warehouse since 1995. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re a part of the literary infrastructure,” Brent Cunningham, SPD’s executive director and an author—most recently of poetry chapbook \u003cem>The Sad Songs of Hell\u003c/em> (Ugly Duckling)—said in a video interview. “You’ve got to know the art form and its economy pretty well to realize we even exist.”\u003c/p>\n\u003cp>SPD does not carry anything from the “Big Five” publishers or their imprints. It is an institution outside of the literary mainstream, with close community ties. “You can imagine most of the books we stocked early on were like this,” Curley said, retrieving a copy of Barbara Baracks’ \u003cem>No Sleep\u003c/em>, a 1977 stapled chapbook published by Bay Area language poet Lyn Hejinian’s Tuumba Press. He started volunteering eight years ago when he moved to the East Bay on the recommendation of a former writing professor, Catherine Taylor of Essay Press. In the warehouse, he was listening to KALX; the DJ played a soul record at the wrong speed. “I can never tell if that’s on purpose,” he said. Curley noted local writers often deliver copies. Most recently, the writer and visual artist Linda Norton came to restock her experimental memoir, \u003cem>Wite Out\u003c/em> (Hanging Loose Press).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the walls were shelving tips (“Unlike titles should not be stacked”) and to-do lists (“Implement Buckminster Fuller plan for the four hour workday”). Before the pandemic, SPD was open to the public for browsing. There’s a reading room with ephemera related to the organization’s history: Prints of product photos and old catalogs, snapshots from the 1995 move to the current warehouse, the last time its metal shelves were empty. Board minutes shared a cupboard with bottles of booze. Curley recalled finding Claudia Rankine’s out-of-print poetry debut recently in a neglected stack. “Maggie Nelson, Ocean Vuong—we carried their first books,” he said. “If we had one copy of everything we’ve sold, it’d be a really amazing library.”\u003c/p>\n\u003cfigure id=\"attachment_13879797\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Kitchen-wall.jpg\" alt=\"Poetry covers the walls of the breakroom at Small Press Distribution in Berkeley.\" width=\"1920\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-1020x601.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poetry covers the walls of the breakroom at Small Press Distribution in Berkeley. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boxes of current popular titles rested by the rollup door: \u003cem>The Complete Stories\u003c/em> by Surrealist artist Leonora Carrington and \u003cem>Me and Other Writing\u003c/em> by French essayist and novelist Marguerite Duras, both collections from Dorothy, a Publishing Project, one of SPD’s largest clients. Trisha Low, SPD’s publicity manager and author of the recent book \u003cem>Socialist Realism\u003c/em> (Coffee House Press), said in a video interview that Dorothy has grown with SPD, each company buoying the other. There’s also a mission-driven affinity: “Like with Aunt Lute, another one of our largest publishers, we all want to support more independent networks.” SPD has the credibility to make valued recommendations to booksellers, building camaraderie with publishers and vendors.\u003c/p>\n\u003cp>Lately, even closed stores have lent support: East Bay Booksellers committed a percentage of web sales to the distributor, and SPD has in turn offered credit to needy vendors. “Our heart and history is with the indie stores,” Cunningham said. As a largely industry-facing organization, SPD might not have the celebrity of City Lights, or even local fixtures such as Marcus Books. Yet it’s \u003ca href=\"https://www.gofundme.com/f/help-small-press-distribution-survive\">crowdfunded nearly $100,000\u003c/a>. According to Cunningham, that’s more than double individual donations received in any recent year. Direct orders have also increased, along with their size; people who might’ve ordered a couple books are buying five instead. With readers increasingly leery of not only Amazon’s industry bully tactics but also its labor practices, SPD is gaining visibility as an alternative.\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Small Press Distribution currently warehouses some 350,000 books.\" width=\"1920\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution currently warehouses some 350,000 books. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, Cunningham conceded that much of SPD’s growth has been due to Amazon, a reality that challenges the distributor’s identity. “Is the small press community a proving ground where you try your first book, then get picked up by a major?” Cunningham asked, “Does it have its own set of values and what are they? Is it supposed to be antagonistic to the larger publishing world?” For that matter, is it Amazon-like for SPD to continue operating during the pandemic? Low said the company concluded that it has an obligation to publishers continue shipping and processing payments. “But at the end of the day it’s not perfect,” she said. “It’s not perfect to have one person alone in the warehouse working their tail off.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Curley, packing slips in hand, said he feels recognized for his labor. He’s also optimistic that readers can cut ties to Amazon and invest in parallel, independent networks. In an era of one-day delivery, SPD customers are including notes with orders saying, “Take your time.” He also helped develop new safety protocols. When a new shipment arrives, he lets it sit for a day; the new coronavirus is thought to live for no more than 24 hours on cardboard. A postal carrier bounded through the rollup door, dropping off a box. “You got anything for me, bro? I know I’m early.” Curley shook his head. “It’s the same drivers every day,” he said. “Normally I’d help them load into the truck, but we’re doing social distancing. Luckily, there’s fewer boxes than usual.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Liam Curley, warehouse manager at \u003ca href=\"https://www.spdbooks.org/\">Small Press Distribution\u003c/a> (SPD), the nation’s only nonprofit literary distributor, has for the past seven weeks worked by himself. Shipments to and from the 6,400-square-foot warehouse in Berkeley have slowed to a steady trickle. One morning recently, he parked his sedan on 7th Street. The bumper sticker says, “Driver carries no cash, they’re a poet.” He wore purple latex gloves and an N95 respirator, and walked through the dark office and kitchen towards the rows of some 350,000 books from independent publishers. The mask, Curley said, was actually a leftover from the last wildfire season. “The warehouse is very porous.”\u003c/p>\n\u003cp>Curley, 30, nodded to a cluttered desk with a computer monitor still alight, as if it had been abandoned in a hurry. “Everyone else is remote,” he said. “But you can see the ghost in the machine.” He could’ve been talking about himself: Curley plays a critical but little-seen role in the literary supply chain, especially for shut-in readers reluctant to buy on Amazon. (Curley alternates days with an assistant, Shawn El.) With bookstores closed, SPD’s revenue is down 60 percent, but he still packs more than a hundred orders daily, mainly for Amazon and direct sales. In the kitchen, a copy of the latest \u003cem>Publishers Weekly\u003c/em> declared, “Books are essential.” Curley has doubts. “Books aren’t saving lives,” he said. “But it’s really about standing together as an industry.”\u003c/p>\n\u003cp>SPD, founded in Berkeley in 1969, has weathered decades of industry consolidation to persevere as one of few distributors still committed to small publishers. It markets and distributes titles from some 400 presses, selling to independent and college bookshops, wholesalers such as Ingram, online retailers including Amazon and individuals through its own site. As a nonprofit, it also receives key grant funding. In the past 20 years, SPD has actually grown. Last year, it moved four times as many books as it did in 1999. Now, the distributor is crowdfunding to cover payroll and health insurance for 10 employees. And readers, eager to support independent literature from home, are rallying like never before to support a business with little profile outside of its industry.\u003c/p>\n\u003cfigure id=\"attachment_13879796\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Front-Sign.jpg\" alt=\"Small Press Distribution, founded in 1969, has operated out of this Berkeley warehouse since 1995.\" width=\"1920\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-1020x600.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, founded in 1969, has operated out of this Berkeley warehouse since 1995. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re a part of the literary infrastructure,” Brent Cunningham, SPD’s executive director and an author—most recently of poetry chapbook \u003cem>The Sad Songs of Hell\u003c/em> (Ugly Duckling)—said in a video interview. “You’ve got to know the art form and its economy pretty well to realize we even exist.”\u003c/p>\n\u003cp>SPD does not carry anything from the “Big Five” publishers or their imprints. It is an institution outside of the literary mainstream, with close community ties. “You can imagine most of the books we stocked early on were like this,” Curley said, retrieving a copy of Barbara Baracks’ \u003cem>No Sleep\u003c/em>, a 1977 stapled chapbook published by Bay Area language poet Lyn Hejinian’s Tuumba Press. He started volunteering eight years ago when he moved to the East Bay on the recommendation of a former writing professor, Catherine Taylor of Essay Press. In the warehouse, he was listening to KALX; the DJ played a soul record at the wrong speed. “I can never tell if that’s on purpose,” he said. Curley noted local writers often deliver copies. Most recently, the writer and visual artist Linda Norton came to restock her experimental memoir, \u003cem>Wite Out\u003c/em> (Hanging Loose Press).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the walls were shelving tips (“Unlike titles should not be stacked”) and to-do lists (“Implement Buckminster Fuller plan for the four hour workday”). Before the pandemic, SPD was open to the public for browsing. There’s a reading room with ephemera related to the organization’s history: Prints of product photos and old catalogs, snapshots from the 1995 move to the current warehouse, the last time its metal shelves were empty. Board minutes shared a cupboard with bottles of booze. Curley recalled finding Claudia Rankine’s out-of-print poetry debut recently in a neglected stack. “Maggie Nelson, Ocean Vuong—we carried their first books,” he said. “If we had one copy of everything we’ve sold, it’d be a really amazing library.”\u003c/p>\n\u003cfigure id=\"attachment_13879797\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Kitchen-wall.jpg\" alt=\"Poetry covers the walls of the breakroom at Small Press Distribution in Berkeley.\" width=\"1920\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-1020x601.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poetry covers the walls of the breakroom at Small Press Distribution in Berkeley. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boxes of current popular titles rested by the rollup door: \u003cem>The Complete Stories\u003c/em> by Surrealist artist Leonora Carrington and \u003cem>Me and Other Writing\u003c/em> by French essayist and novelist Marguerite Duras, both collections from Dorothy, a Publishing Project, one of SPD’s largest clients. Trisha Low, SPD’s publicity manager and author of the recent book \u003cem>Socialist Realism\u003c/em> (Coffee House Press), said in a video interview that Dorothy has grown with SPD, each company buoying the other. There’s also a mission-driven affinity: “Like with Aunt Lute, another one of our largest publishers, we all want to support more independent networks.” SPD has the credibility to make valued recommendations to booksellers, building camaraderie with publishers and vendors.\u003c/p>\n\u003cp>Lately, even closed stores have lent support: East Bay Booksellers committed a percentage of web sales to the distributor, and SPD has in turn offered credit to needy vendors. “Our heart and history is with the indie stores,” Cunningham said. As a largely industry-facing organization, SPD might not have the celebrity of City Lights, or even local fixtures such as Marcus Books. Yet it’s \u003ca href=\"https://www.gofundme.com/f/help-small-press-distribution-survive\">crowdfunded nearly $100,000\u003c/a>. According to Cunningham, that’s more than double individual donations received in any recent year. Direct orders have also increased, along with their size; people who might’ve ordered a couple books are buying five instead. With readers increasingly leery of not only Amazon’s industry bully tactics but also its labor practices, SPD is gaining visibility as an alternative.\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Small Press Distribution currently warehouses some 350,000 books.\" width=\"1920\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution currently warehouses some 350,000 books. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, Cunningham conceded that much of SPD’s growth has been due to Amazon, a reality that challenges the distributor’s identity. “Is the small press community a proving ground where you try your first book, then get picked up by a major?” Cunningham asked, “Does it have its own set of values and what are they? Is it supposed to be antagonistic to the larger publishing world?” For that matter, is it Amazon-like for SPD to continue operating during the pandemic? Low said the company concluded that it has an obligation to publishers continue shipping and processing payments. “But at the end of the day it’s not perfect,” she said. “It’s not perfect to have one person alone in the warehouse working their tail off.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curley, packing slips in hand, said he feels recognized for his labor. He’s also optimistic that readers can cut ties to Amazon and invest in parallel, independent networks. In an era of one-day delivery, SPD customers are including notes with orders saying, “Take your time.” He also helped develop new safety protocols. When a new shipment arrives, he lets it sit for a day; the new coronavirus is thought to live for no more than 24 hours on cardboard. A postal carrier bounded through the rollup door, dropping off a box. “You got anything for me, bro? I know I’m early.” Curley shook his head. “It’s the same drivers every day,” he said. “Normally I’d help them load into the truck, but we’re doing social distancing. Luckily, there’s fewer boxes than usual.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Drive-in theaters in San Jose and Concord reopened to the general public on Tuesday, providing a welcome respite for those missing a communal movie-watching experience. \u003c/p>\n\u003cp>The West Wind-owned theaters, among the last remaining drive-ins in the Bay Area, will enforce strict rules: you’ll have to wear a mask to leave your car, and can only exit your car to go to the bathroom. Cars must park 10 feet apart. And the concession stand will be closed. (Customers may bring their own snacks.) \u003c/p>\n\u003cp>So… what’s playing? You can find full current schedules for each theater \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. But as a taste, in San Jose, the following double features are showing at the Capitol Drive-In this week:\u003c/p>\n\u003cp>\u003cem>The Hunt\u003c/em> and \u003cem>The Invisible Man\u003c/em>\u003cbr>\n\u003cem>Gretel & Hansel\u003c/em> and \u003cem>Brahms: The Boy II\u003c/em>\u003cbr>\n\u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em> and \u003cem>Good Boys\u003c/em>\u003cbr>\n\u003cem>The Wretched\u003c/em> and \u003cem>Disappearance at Clifton Hill\u003c/em>\u003cbr>\n\u003cem>Trolls World Tour\u003c/em> and \u003cem>Dolittle\u003c/em>\u003cbr>\n\u003cem>Onward\u003c/em> and \u003cem>Trolls World Tour\u003c/em>\u003c/p>\n\u003cp>Never been to a drive-in theater before? Here are \u003ca href=\"https://www.westwinddi.com/blog/2018/10-drive-in-movie-tips\" rel=\"noopener noreferrer\" target=\"_blank\">some tips\u003c/a> for those ready to try the classic drive-in experience. (And if you’re closer to Sacramento, West Wind also operates a \u003ca href=\"https://www.westwinddi.com/locations/sacramento\" rel=\"noopener noreferrer\" target=\"_blank\">drive-in theater\u003c/a> there, currently showing an extra-nostalgic double feature of \u003cem>Raiders of the Lost Ark\u003c/em> and \u003cem>Indiana Jones and the Last Crusade\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets are $8.25 general admission / $1.75 for kids age 5–11. (No smuggling your friends in the trunk, now!) \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Drive-in theaters in San Jose and Concord reopened to the general public on Tuesday, providing a welcome respite for those missing a communal movie-watching experience. \u003c/p>\n\u003cp>The West Wind-owned theaters, among the last remaining drive-ins in the Bay Area, will enforce strict rules: you’ll have to wear a mask to leave your car, and can only exit your car to go to the bathroom. Cars must park 10 feet apart. And the concession stand will be closed. (Customers may bring their own snacks.) \u003c/p>\n\u003cp>So… what’s playing? You can find full current schedules for each theater \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. But as a taste, in San Jose, the following double features are showing at the Capitol Drive-In this week:\u003c/p>\n\u003cp>\u003cem>The Hunt\u003c/em> and \u003cem>The Invisible Man\u003c/em>\u003cbr>\n\u003cem>Gretel & Hansel\u003c/em> and \u003cem>Brahms: The Boy II\u003c/em>\u003cbr>\n\u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em> and \u003cem>Good Boys\u003c/em>\u003cbr>\n\u003cem>The Wretched\u003c/em> and \u003cem>Disappearance at Clifton Hill\u003c/em>\u003cbr>\n\u003cem>Trolls World Tour\u003c/em> and \u003cem>Dolittle\u003c/em>\u003cbr>\n\u003cem>Onward\u003c/em> and \u003cem>Trolls World Tour\u003c/em>\u003c/p>\n\u003cp>Never been to a drive-in theater before? Here are \u003ca href=\"https://www.westwinddi.com/blog/2018/10-drive-in-movie-tips\" rel=\"noopener noreferrer\" target=\"_blank\">some tips\u003c/a> for those ready to try the classic drive-in experience. (And if you’re closer to Sacramento, West Wind also operates a \u003ca href=\"https://www.westwinddi.com/locations/sacramento\" rel=\"noopener noreferrer\" target=\"_blank\">drive-in theater\u003c/a> there, currently showing an extra-nostalgic double feature of \u003cem>Raiders of the Lost Ark\u003c/em> and \u003cem>Indiana Jones and the Last Crusade\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Symphony Cancels 2019-20 Season, Moves Michael Tilson Thomas Farewell Online",
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"content": "\u003cp>The San Francisco Symphony on Wednesday announced the cancellation of all concerts remaining in its 2019-20 season as well as pay cuts affecting nearly 200 workers due to shelter-in-place orders to curb the spread of the novel coronavirus. [aside postID=arts_13865435,arts_13876535,arts_13877348]\u003c/p>\n\u003cp>The move to call off programming through Aug. 1 brings the symphony’s total number of canceled events to 64 and represents a step further than most arts presenters have taken. It comes a day after California Governor Gavin Newsom said at a press conference that concerts won’t resume until the final phase of reopening the economy—still months away.\u003c/p>\n\u003cp>Because the season marks the end of Michael Tilson Thomas’ quarter century tenure as music director, the symphony is also launching a 25-day “digital celebration” of his career. In a statement, Thomas said that the season’s cancellation saddens him greatly. “We would have been performing essential works in which we have developed our special sound, style and collaboration.”\u003c/p>\n\u003cp>The symphony has been dormant since the second week of March, when local officials forbade non-essential gatherings in city-owned facilities. According to the announcement, the symphony faces more than $13 million in lost revenue and $5.4 million in net losses due to the cancellations of Davies Symphony Hall and SoundBox events as well as a three-week tour to New York and Europe.\u003c/p>\n\u003cp>To counter the losses, the symphony is implementing what leadership in the statement call “shared sacrifice” reductions: Stagehands, staff and members of the orchestra and chorus have agreed to salary reductions averaging 25 percent in effect from April 19 to Sept. 5. Thomas will not be compensated for canceled concerts. All workers retain healthcare and insurance benefits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A symphony spokesperson confirmed the pay reductions impact nearly 200 workers, saying senior leadership is taking the “highest cuts.” The spokesperson also said the organization applied for and has received funds through the federal CARES Act.\u003c/p>\n\u003cp>In a statement, chief executive Mark Hanson described the plan as balancing individual and institutional needs. “Our top priority from the very beginning of the COVID-19 pandemic has been to take care of the people who are the San Francisco Symphony family,” Hanson said.\u003c/p>\n\u003cp>Like most performing arts groups, the symphony is encouraging ticketholders to donate the cost of their tickets or to ask for a gift certificate for the value of their tickets. A group of board members and donors have pledged to match ticket donations through an initial $1 million fund.\u003c/p>\n\u003cp>According to its 2018-19 season impact report, the symphony derives 35 percent of its operating revenue from ticket sales and runs on an $80 million annual budget. The nonprofit organization disclosed net assets worth $321,864,438 on its most recent publicly available tax return form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco arts organizations project losing up to $73 million in earned income and donations if—as the symphony is now anticipating—the novel coronavirus crisis proceeds through the summer, according to the results of a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey\u003c/a> of 145 local groups released in March.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The move to call off programming through Aug. 1 brings the symphony’s total number of canceled events to 64 and represents a step further than most arts presenters have taken. It comes a day after California Governor Gavin Newsom said at a press conference that concerts won’t resume until the final phase of reopening the economy—still months away.\u003c/p>\n\u003cp>Because the season marks the end of Michael Tilson Thomas’ quarter century tenure as music director, the symphony is also launching a 25-day “digital celebration” of his career. In a statement, Thomas said that the season’s cancellation saddens him greatly. “We would have been performing essential works in which we have developed our special sound, style and collaboration.”\u003c/p>\n\u003cp>The symphony has been dormant since the second week of March, when local officials forbade non-essential gatherings in city-owned facilities. According to the announcement, the symphony faces more than $13 million in lost revenue and $5.4 million in net losses due to the cancellations of Davies Symphony Hall and SoundBox events as well as a three-week tour to New York and Europe.\u003c/p>\n\u003cp>To counter the losses, the symphony is implementing what leadership in the statement call “shared sacrifice” reductions: Stagehands, staff and members of the orchestra and chorus have agreed to salary reductions averaging 25 percent in effect from April 19 to Sept. 5. Thomas will not be compensated for canceled concerts. All workers retain healthcare and insurance benefits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A symphony spokesperson confirmed the pay reductions impact nearly 200 workers, saying senior leadership is taking the “highest cuts.” The spokesperson also said the organization applied for and has received funds through the federal CARES Act.\u003c/p>\n\u003cp>In a statement, chief executive Mark Hanson described the plan as balancing individual and institutional needs. “Our top priority from the very beginning of the COVID-19 pandemic has been to take care of the people who are the San Francisco Symphony family,” Hanson said.\u003c/p>\n\u003cp>Like most performing arts groups, the symphony is encouraging ticketholders to donate the cost of their tickets or to ask for a gift certificate for the value of their tickets. A group of board members and donors have pledged to match ticket donations through an initial $1 million fund.\u003c/p>\n\u003cp>According to its 2018-19 season impact report, the symphony derives 35 percent of its operating revenue from ticket sales and runs on an $80 million annual budget. The nonprofit organization disclosed net assets worth $321,864,438 on its most recent publicly available tax return form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco arts organizations project losing up to $73 million in earned income and donations if—as the symphony is now anticipating—the novel coronavirus crisis proceeds through the summer, according to the results of a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey\u003c/a> of 145 local groups released in March.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Many Musicians Exempt From Controversial Gig-Worker Law Under Proposed Changes",
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"content": "\u003cp>When concerts resume in California, many musicians will have one less thing to worry about. \u003c/p>\n\u003cp>Industry groups and elected officials have reached an agreement to amend Assembly Bill 5 (AB 5), the controversial gig worker law, to exempt certain musicians and music professionals. [aside postID=arts_13871229,news_11794049,news_news_11812496]\u003c/p>\n\u003cp>AB 5 was intended to protect worker’s rights by making it more difficult for so-called “gig economy” companies such as Uber and Lyft to classify their drivers as independent contractors. \u003c/p>\n\u003cp>But the bill, signed into law in September, has drawn criticism from independent musicians who say it increases their costs and limits their opportunities for work. The pending amendments announced this month are designed to address these unintended consequences. \u003c/p>\n\u003cp>The amendments exempt musicians and music professionals whose work is primarily original and inventive, as opposed to directed by an employer. Still, AB5 will continue to apply to significant groups of musicians, including performers in orchestral, festival and theme park settings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Bay Area music community has been almost completely unified in its desire to see our state government acknowledge and address the deleterious effects of AB 5 on music industry workers,” Karl Alfonso Defensor Evangelista, an Oakland composer and improviser who’s organized local experimental musicians to oppose the law, said in a statement to KQED. \u003c/p>\n\u003cp>Evangelista said that while he awaits the final language and believes other local industries remain adversely affected by the law, he welcomes the amendments. “I speak on behalf of many of my colleagues when I say that this music exemption is a step in the right direction.”\u003c/p>\n\u003cp>Evangelista continued, “This is going to have a positive effect on a lot of musicians and institutions that are already suffering the pandemic lockdown.” \u003c/p>\n\u003cp>Kale Cumings, president of American Federation of Musicians Local 6 in San Francisco, who helped negotiate the amendment, said in an interview that the changes avoid imposing an onerous employer-employee relationship on most musicians in collaborative situations. \u003c/p>\n\u003cp>But, Cumings added, neither the law nor the changes address the lack of a safety net for freelance musicians—as this season’s concert cancellations \u003ca href=\"https://www.kqed.org/arts/13876535/classical-musicians-say-coronavirus-cancellations-are-financially-catastrophic\">have shown\u003c/a>. “The conversation it’s brought up is very important,” he said. “How to organize musicians in a way that doesn’t penalize or limit their independence but still brings them into the American workforce?”\u003c/p>\n\u003cp>AB 5, authored by San Diego assemblywoman Lorena Gonzalez, codifies a 2018 California Supreme Court decision by establishing a three part “ABC Test” to determine whether or not companies can classify workers as independent contractors. The idea is to afford many gig economy workers employee protections such as health coverage and workers compensation. \u003c/p>\n\u003cp>But the test’s requirement that freelancers perform work outside of the employer’s main business would upend the model of small music venues and nonprofit performing arts presenters. These employers would have to onboard performers as regular employees for even one season or event, and musicians found many employers would opt to reduce bookings instead of comply. \u003c/p>\n\u003cp>As a workaround, many musicians contemplated forming their own limited-liability corporations, but related expenses would eat into their already-thin profit margins. Further, this would force them to hire backing musicians as employees even for one recording session or performance, sowing confusion among collaborative ensembles and for artists who alternate as band leaders. \u003c/p>\n\u003cp>For these reasons and more, the bill drew opposition from groups including the Recording Industry Association of America, American Association of Independent Music, American Federation of Musicians and Music Artists Coalition. Most industry opponents supported the spirit of the bill while calling it ill-suited to the music recording and performance ecosystems. \u003c/p>\n\u003cp>After more than a year of consulting with the industry, Gonzalez and the groups announced the exemptions on April 17. The “new amendments will acknowledge and add to the existing flexibility California has allowed in the music industry while protecting the right for musicians to have basic employment protections just like every other worker,” Gonzalez said in a statement. \u003c/p>\n\u003cp>The amendment broadly relieves musicians, composers, songwriters, engineers and others involved in the music production process of applying the law’s ABC test. They can continue to use a previous standard for determining if someone is an employee known as the Borello test, which mainly hinges on whether or not a worker controls the manner and means of the work.\u003c/p>\n\u003cp>The amendment also applies the previous, less-strict test to musicians in standalone live performances, unless they’re a part of a group headlining at a concert venue with more than 1,500 attendees or performing at a music festival that draws more than 18,000 attendees. In other words, AB-5 would apply to performers at, say, Outside Lands or the Bill Graham Civic Auditorium. \u003c/p>\n\u003cp>Then there’s the exemptions from the exemption: Musical groups regularly performing at theme parks, and musicians in symphony orchestras, performing as a part of a tour or performing in a musical theater production are still subject to the AB 5 standard. The reason, according to Gonzalez’s statement, is these musicians are significantly controlled or directed by employers.\u003c/p>\n\u003cp>“The amendment appropriately narrows the effect of AB5 to clarify that music professionals, due to the unique nature of our business, cannot be treated as an employer every time they collaborate,” Mich Glazier, chairman and chief executive of the Recording Industry Association of American, said in a statement. \u003c/p>\n\u003cp>“Having worked personally with every stakeholder in the process for the last year, I can say that each elected official, coalition, association, union and individual working on behalf of their constituency truly cared about not only the members they work to protect, but also our industry as a whole,” added Jordan Bromley, a Music Artists Coalition board member, in a statement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The amendments will be voted on when the legislature reconvenes. If passed, they would go into effect Jan. 1, 2021. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>AB 5 was intended to protect worker’s rights by making it more difficult for so-called “gig economy” companies such as Uber and Lyft to classify their drivers as independent contractors. \u003c/p>\n\u003cp>But the bill, signed into law in September, has drawn criticism from independent musicians who say it increases their costs and limits their opportunities for work. The pending amendments announced this month are designed to address these unintended consequences. \u003c/p>\n\u003cp>The amendments exempt musicians and music professionals whose work is primarily original and inventive, as opposed to directed by an employer. Still, AB5 will continue to apply to significant groups of musicians, including performers in orchestral, festival and theme park settings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Bay Area music community has been almost completely unified in its desire to see our state government acknowledge and address the deleterious effects of AB 5 on music industry workers,” Karl Alfonso Defensor Evangelista, an Oakland composer and improviser who’s organized local experimental musicians to oppose the law, said in a statement to KQED. \u003c/p>\n\u003cp>Evangelista said that while he awaits the final language and believes other local industries remain adversely affected by the law, he welcomes the amendments. “I speak on behalf of many of my colleagues when I say that this music exemption is a step in the right direction.”\u003c/p>\n\u003cp>Evangelista continued, “This is going to have a positive effect on a lot of musicians and institutions that are already suffering the pandemic lockdown.” \u003c/p>\n\u003cp>Kale Cumings, president of American Federation of Musicians Local 6 in San Francisco, who helped negotiate the amendment, said in an interview that the changes avoid imposing an onerous employer-employee relationship on most musicians in collaborative situations. \u003c/p>\n\u003cp>But, Cumings added, neither the law nor the changes address the lack of a safety net for freelance musicians—as this season’s concert cancellations \u003ca href=\"https://www.kqed.org/arts/13876535/classical-musicians-say-coronavirus-cancellations-are-financially-catastrophic\">have shown\u003c/a>. “The conversation it’s brought up is very important,” he said. “How to organize musicians in a way that doesn’t penalize or limit their independence but still brings them into the American workforce?”\u003c/p>\n\u003cp>AB 5, authored by San Diego assemblywoman Lorena Gonzalez, codifies a 2018 California Supreme Court decision by establishing a three part “ABC Test” to determine whether or not companies can classify workers as independent contractors. The idea is to afford many gig economy workers employee protections such as health coverage and workers compensation. \u003c/p>\n\u003cp>But the test’s requirement that freelancers perform work outside of the employer’s main business would upend the model of small music venues and nonprofit performing arts presenters. These employers would have to onboard performers as regular employees for even one season or event, and musicians found many employers would opt to reduce bookings instead of comply. \u003c/p>\n\u003cp>As a workaround, many musicians contemplated forming their own limited-liability corporations, but related expenses would eat into their already-thin profit margins. Further, this would force them to hire backing musicians as employees even for one recording session or performance, sowing confusion among collaborative ensembles and for artists who alternate as band leaders. \u003c/p>\n\u003cp>For these reasons and more, the bill drew opposition from groups including the Recording Industry Association of America, American Association of Independent Music, American Federation of Musicians and Music Artists Coalition. Most industry opponents supported the spirit of the bill while calling it ill-suited to the music recording and performance ecosystems. \u003c/p>\n\u003cp>After more than a year of consulting with the industry, Gonzalez and the groups announced the exemptions on April 17. The “new amendments will acknowledge and add to the existing flexibility California has allowed in the music industry while protecting the right for musicians to have basic employment protections just like every other worker,” Gonzalez said in a statement. \u003c/p>\n\u003cp>The amendment broadly relieves musicians, composers, songwriters, engineers and others involved in the music production process of applying the law’s ABC test. They can continue to use a previous standard for determining if someone is an employee known as the Borello test, which mainly hinges on whether or not a worker controls the manner and means of the work.\u003c/p>\n\u003cp>The amendment also applies the previous, less-strict test to musicians in standalone live performances, unless they’re a part of a group headlining at a concert venue with more than 1,500 attendees or performing at a music festival that draws more than 18,000 attendees. In other words, AB-5 would apply to performers at, say, Outside Lands or the Bill Graham Civic Auditorium. \u003c/p>\n\u003cp>Then there’s the exemptions from the exemption: Musical groups regularly performing at theme parks, and musicians in symphony orchestras, performing as a part of a tour or performing in a musical theater production are still subject to the AB 5 standard. The reason, according to Gonzalez’s statement, is these musicians are significantly controlled or directed by employers.\u003c/p>\n\u003cp>“The amendment appropriately narrows the effect of AB5 to clarify that music professionals, due to the unique nature of our business, cannot be treated as an employer every time they collaborate,” Mich Glazier, chairman and chief executive of the Recording Industry Association of American, said in a statement. \u003c/p>\n\u003cp>“Having worked personally with every stakeholder in the process for the last year, I can say that each elected official, coalition, association, union and individual working on behalf of their constituency truly cared about not only the members they work to protect, but also our industry as a whole,” added Jordan Bromley, a Music Artists Coalition board member, in a statement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The amendments will be voted on when the legislature reconvenes. If passed, they would go into effect Jan. 1, 2021. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Ticket Holders Are Struggling To Get Refunds For Concerts And Live Events",
"headTitle": "Why Ticket Holders Are Struggling To Get Refunds For Concerts And Live Events | KQED",
"content": "\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 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=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus pandemic has completely shut down the business of concerts and other live events. Some people, including Los Angeles mayor Eric Garcetti, are even predicting that live events won’t \u003ca href=\"https://www.politico.com/states/california/story/2020/04/15/garcetti-sporting-events-concerts-unlikely-in-los-angeles-until-2021-1276698\">resume until next year\u003c/a>.\u003c/p>\n\u003cp>That leaves ticket holders looking for refunds, but new rules Ticketmaster \u003ca href=\"https://blog.ticketmaster.com/guidelines-canceled-postponed-events/\">announced last week\u003c/a> stipulate that a show has to be either officially canceled or have new dates announced in order for the purchaser to be eligible for refunds. \u003c/p>\n\u003cp>Cachelle Cronin, a mental health therapist in Vancouver, Wash., says that before the coronavirus pandemic, she bought tickets for six events through Ticketmaster. \u003c/p>\n\u003cp>“I’ve got tickets to Russ, Halsey, [Green Day, Weezer and Fallout Boy’s] Hella Mega Tour, Journey with the Pretenders,” she lists off the top of her head. \u003c/p>\n\u003cp>Since none of those shows have been canceled or rescheduled, she’s ineligible for a refund. And Cronin bought pairs of tickets to each concert, which means she’s out nearly $1000. She says she’s thankful she’s still employed.\u003c/p>\n\u003cp>“I cannot even imagine what somebody would be going through right now if they had $1000 in tickets sitting there that they know they’re not gonna be able to use, and they’re stressing about being able to pay rent, or buy their kids food, or anything like that,” she says. \u003c/p>\n\u003cp>The live event economy is a complicated one, and it’s been a struggle for ticket buyers to get their money back because they aren’t Ticketmaster’s primary concern, says Dean Budnick who, along with Josh Baron, is the author of the book \u003cem>Ticket Masters: The Rise of the Concert Industry and How the Public Got Scalped\u003c/em>.\u003c/p>\n\u003cp>“Ticketmaster really, ultimately, is responsible to its venue clients and those are the individuals it wants to protect,” he says.\u003c/p>\n\u003cp>In other words, its primary business relationships are with concert promoters, stadiums and arenas — not ticket buyers. Before last week, Ticketmaster’s website \u003ca href=\"https://www.nytimes.com/2020/04/08/arts/music/ticketmaster-refunds-coronavirus.html\">seemed to back off of refunds\u003c/a> for postponed events entirely.\u003c/p>\n\u003cp>The ensuing media coverage caught the attention of two members of Congress. Democratic Representatives Katie Porter from California and Bill Pascrell from New Jersey \u003ca href=\"https://pascrell.house.gov/news/documentsingle.aspx?DocumentID=4260\">wrote a scathing letter\u003c/a> encouraging the ticket seller to reconsider.\u003c/p>\n\u003cp>“We fully expect the availability of refunds to continue to climb over the next 4-6 weeks and ultimately expect all our clients will make refunds available,” Ticketmaster said in a statement to NPR, adding that it has already returned $400 million to fans so far. But Ticketmaster, along with \u003ca href=\"https://www.billboard.com/articles/business/touring/9359919/aeg-ticket-refunds-concerts-coronavirus\">rival company AEG\u003c/a> — \u003ca href=\"https://www.nytimes.com/2020/04/17/arts/music/live-nation-refunds-virus.html\">announced new refund policies\u003c/a> last week, which still require a concert to be canceled or officially rescheduled with new dates to trigger a refund. Those policies don’t go into effect until May 1.\u003c/p>\n\u003cp>Dean Budnick says Live Nation and AEG simply don’t have the money to give back. “Because contractually, they’ve released that money to concert promoters, to event producers who put on those events,” he explains.\u003c/p>\n\u003cp>Budnick says with smaller, club level shows, those funds are usually held in escrow, so they’re easier to access. But for big shows at stadiums, ticket purchasers’ money is already in the hands of venues and artists.\u003c/p>\n\u003cp>“Now you may say, ‘Well gee, that is Ticketmaster’s fault because that’s their contract that they entered into,’ ” he points out.\u003c/p>\n\u003cp>Budnick says over the past few decades, artists have gotten a larger share of ticket sales to make up for declining record sales. That’s led to higher ticket prices and more service fees to be shared among the venues and promoters.\u003c/p>\n\u003cp>Keith Jopling, a consulting director for the media analysis firm MIDiA Research, says that in a post-shutdown world, the deals between all parties in the ecosystem are likely to change.\u003c/p>\n\u003cp>“Everyone on that value chain will be expected to take a hit on that, including artists,” he says. \u003c/p>\n\u003cp>But right now, it’s out-of-work stage hands, food vendors, security guards and ticket holders who are feeling the pain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Crystal Reilly, a teacher from Michigan, bought Red Wings hockey tickets as a gift for her dad. The game was set to take place last month and she still can’t get a refund. With schools closed for the foreseeable future, Reilly says getting that money back is important.\u003c/p>\n\u003cp>“I’m not working right now. I won’t work until September, so having that extra 230 bucks would be really awesome,” she says.\u003c/p>\n\u003cp>Some customers, including Reilly and Cachelle Cronin, are part of a group exploring a class action suit. It’s just \u003ca href=\"https://www.classaction.org/blog/class-action-against-ticketmaster-live-nation-seeks-refunds-for-rescheduled-events\">one such complaint\u003c/a> going through the courts now. Elsewhere, others have reached out to their credit card companies to try to get their money back. But either way, they’ll be waiting for a while. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 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=Why+Ticket+Holders+Are+Struggling+To+Get+Refunds+For+Concerts+And+Live+Events&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "In Oakland, Plunging Hotel Tax Revenue Threatens to Gut Arts Funding",
"headTitle": "In Oakland, Plunging Hotel Tax Revenue Threatens to Gut Arts Funding | KQED",
"content": "\u003cp>In 2009, Oakland voters passed a ballot measure to increase arts funding as part of the city’s economic recovery from the Great Recession. [aside postID=arts_13878335,arts_13861153,arts_13873207]\u003c/p>\n\u003cp>Measure C raised the city’s hotel tax from 11 percent to 14 percent, with the added revenue supporting Oakland’s Cultural Funding Program, tourism agency Visit Oakland, festivals such as Art + Soul, and organizations including the Oakland Museum of California (OMCA) and Chabot Space and Science Center.\u003c/p>\n\u003cp>In the decade since, annual hotel tax revenue has more than tripled, reaching $33 million in 2019. Last year, roughly a third of the $1.2 million that Oakland granted to artists and small arts nonprofits derived from hotel taxes, and Oakland Museum of California received nearly $1 million from the fund.\u003c/p>\n\u003cp>Still, the benefits have been modest, outstripped by rising housing costs. Oakland arts figures have in recent years agitated elected officials for additional funding with mixed success—securing one time boosts only to see them dropped from subsequent budgets or diverted to other uses. \u003c/p>\n\u003cp>Now, a new economic crisis is erasing the limited gains and threatening to plunge public art support to historic lows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With the current shelter-in-place orders, Bay Area hotel occupancy rates have plummeted to below 20 percent, and in some cities, rates are in the single digits. Oakland’s budget director projects hotel tax revenue falling by $9 million to $18.01 million this fiscal year alone—part of a potential $80 million budget shortfall over the next 14 months.\u003c/p>\n\u003cp>“The size and scale of these revenue shortfalls is like nothing Oakland has ever before experienced,” reads the \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=4420613&GUID=6DAD55FD-A354-4DE0-A6C0-E376CE95DDE2&Options=&Search=\">finance report\u003c/a> received by Oakland City Council on Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13875808\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg\" alt=\"The creation and erasure of a mural catalyzes an anti-gentrification coalition in 'Alice Street.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The creation and erasure of a mural catalyzes an anti-gentrification coalition in ‘Alice Street.’ \u003ccite>(Zoe Mountain/Courtesy of filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Museum of California, the city’s largest cultural organization, has for the past two years relied on hotel tax allocation for approximately $70,000 per month in operations support.\u003c/p>\n\u003cp>“We’re anticipating that goes away completely for the foreseeable future,” Lori Fogarty, director of the museum, said in an interview. “That’s absolutely one of our biggest hits.”\u003c/p>\n\u003cp>The impact follows the cancellation of the museum’s annual gala March 14, which aimed to raise $350,000 (many supporters donated regardless), and comes atop the ongoing losses from ticket sales and programming. OMCA expects to lose $1.5 million through the summer.\u003c/p>\n\u003cp>The museum recently \u003ca href=\"https://www.kqed.org/arts/13878335/oakland-museum-of-california-announces-hours-reductions-affecting-106-workers\">reduced the hours\u003c/a> of 106 full-time employees, a measure meant to avoid layoffs. Only with the help of a federal loan was the museum able to temporarily restore them.\u003c/p>\n\u003cp>Fogarty noted the $2.5 million \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> in San Francisco, saying Oakland arts leaders could better organize to advocate for emergency relief from local government. But municipal budget crises tend to hasten privatization: The last recession spurred OMCA, for decades run by the City of Oakland, to reform as an independent nonprofit in 2011.\u003c/p>\n\u003cp>“There’s some parallels,” she said. “We were facing a decrease in funding then. But this is even more abrupt and far-reaching—I don’t know if there’s been a comparable moment.”\u003c/p>\n\u003cfigure id=\"attachment_13878341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg\" alt=\"Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California.\" width=\"1920\" height=\"1116\" class=\"size-full wp-image-13878341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-1020x593.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California. \u003ccite>(Courtesy OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roberto Bedoya, Oakland’s cultural affairs manager, said in a statement that the effects of city finances on his department will become clear in the coming months as officials reassess the budget.\u003c/p>\n\u003cp>The Cultural Funding Program (CFP) regularly supports performing arts organizations such as Oakland Ballet, Lower Bottom Playaz and Ubuntu Theater; murals by Community Rejuvenation Project and Attitudinal Healing Connection; and has funded projects by metalworker \u003ca href=\"https://www.kqed.org/arts/13873207/the-hustle-karen-smith-metalsmith-oakland\">Karen Smith\u003c/a>, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\">Alice Street\u003c/a>\u003c/em> director Spencer Wilkinson and \u003cem>There, There\u003c/em> author Tommy Orange.\u003c/p>\n\u003cp>In 2018 the cultural affairs unit published Oakland’s first \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Plan\u003c/a> in decades, detailing proposals to alleviate cost-of-living pressures on local artists and sustain community identity. Recently staff also worked to revive Oakland’s long-dormant \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Commission\u003c/a>. But the unit has struggled to win additional funding above and beyond its hotel tax allocation to enact most of its policy goals.\u003c/p>\n\u003cp>Even assuming a continuing uptick in hotel tax revenue, the CFP’s grant-making budget was poised to \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">shrink\u003c/a> this year as a one-time boost from the 2017 budget cycle lapses.\u003c/p>\n\u003cp>And there’s recent precedent for officials raiding arts funds: $100,000 set aside for murals in 2017 disappeared before it could be spent, Bedoya said at a committee hearing earlier this year, due to anticipated revenue shortfalls after council members voted to reduce cannabis taxes.\u003c/p>\n\u003cp>Eric Arnold, Community Rejuvenation Project spokesperson and a longtime observer of Oakland’s equity and culture initiatives, believes the CFP’s few gains since the recession are in serious jeopardy—especially without a grassroots campaign to advocate for the program.\u003c/p>\n\u003cp>“The one-time increases for arts funding that we have seen came directly from community pressure,” Arnold said. “Right now, who’s even organized to make a budget request?”\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg\" alt=\"A panel of the disappearing "Universal Language" mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13861187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the disappearing “Universal Language” mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Arts Commission and related entity Grants for the Arts also expect hotel tax funding for cultural programs—significantly boosted by the 2018 passage of \u003ca href=\"https://www.kqed.org/news/11702680/proposition-e-seeks-to-restore-s-f-s-arts-and-culture-funding-clout\">Proposition E\u003c/a>—to dwindle as city finance officials \u003ca href=\"https://www.documentcloud.org/documents/6821861-March-Joint-Report-Memo-ACTIVE.html\">project\u003c/a> staggering losses of up to $288 million this fiscal year.\u003c/p>\n\u003cp>But San Francisco has more diversified revenue sources for its arts support, and Proposition E actually limits the losses to the Hotel Tax for the Arts fund. Hence, allocations to the fund are expected to only decline by $4.6 million to $28.8 million, according to a March 31 finance report.\u003c/p>\n\u003cp>Brent Miller, co-founder of Center for New Music, a San Francisco venue supported by Grants for the Arts, expects the grant-maker’s reserves to delay the effects on small nonprofits. For now, he’s more concerned about missing rental income that normally subsidizes programming.\u003c/p>\n\u003cp>“I’m hearing Grants for the Arts funding next year is kind of set in stone,” said Miller. “We’re really going to see the impact of that the following year, and then I don’t know what we’ll do.”\u003c/p>\n\u003cp>Arts funders at the state level are also shuddering. At a livestreamed California Arts Council meeting on April 1, commissioners debated relief measures, such as loosening grant restrictions to let organizations cover immediate payroll and rent costs with awards meant for specific projects.\u003c/p>\n\u003cp>The council’s grant-making budget has multiplied in recent years, totaling $35 million in 2020. But when talk turned to the council’s financial outlook, commissioners seemed to brace for cuts.\u003c/p>\n\u003cp>Ayanna Kiburi, the council’s deputy director, showed doubts about additional funding for cultural districts included in Governor Gavin Newsom’s budget proposal from this past January. “That probably won’t—we don’t know what’s going to happen,” Kiburi said.\u003c/p>\n\u003cp>The state funder is in turn awaiting federal support. The $2 trillion federal aid package approved last month includes $75 million each for the national endowments for the humanities and the arts, with 40 percent reserved for state partners such as California Arts Council.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But the money remains in limbo. Nashormeh Lindo, a council member based in Oakland, said the “amount, timing and mechanism” of the additional national endowment funding is unknown.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2009, Oakland voters passed a ballot measure to increase arts funding as part of the city’s economic recovery from the Great Recession. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Measure C raised the city’s hotel tax from 11 percent to 14 percent, with the added revenue supporting Oakland’s Cultural Funding Program, tourism agency Visit Oakland, festivals such as Art + Soul, and organizations including the Oakland Museum of California (OMCA) and Chabot Space and Science Center.\u003c/p>\n\u003cp>In the decade since, annual hotel tax revenue has more than tripled, reaching $33 million in 2019. Last year, roughly a third of the $1.2 million that Oakland granted to artists and small arts nonprofits derived from hotel taxes, and Oakland Museum of California received nearly $1 million from the fund.\u003c/p>\n\u003cp>Still, the benefits have been modest, outstripped by rising housing costs. Oakland arts figures have in recent years agitated elected officials for additional funding with mixed success—securing one time boosts only to see them dropped from subsequent budgets or diverted to other uses. \u003c/p>\n\u003cp>Now, a new economic crisis is erasing the limited gains and threatening to plunge public art support to historic lows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With the current shelter-in-place orders, Bay Area hotel occupancy rates have plummeted to below 20 percent, and in some cities, rates are in the single digits. Oakland’s budget director projects hotel tax revenue falling by $9 million to $18.01 million this fiscal year alone—part of a potential $80 million budget shortfall over the next 14 months.\u003c/p>\n\u003cp>“The size and scale of these revenue shortfalls is like nothing Oakland has ever before experienced,” reads the \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=4420613&GUID=6DAD55FD-A354-4DE0-A6C0-E376CE95DDE2&Options=&Search=\">finance report\u003c/a> received by Oakland City Council on Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13875808\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg\" alt=\"The creation and erasure of a mural catalyzes an anti-gentrification coalition in 'Alice Street.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/photo-by-Zoe-Mountain-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The creation and erasure of a mural catalyzes an anti-gentrification coalition in ‘Alice Street.’ \u003ccite>(Zoe Mountain/Courtesy of filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Museum of California, the city’s largest cultural organization, has for the past two years relied on hotel tax allocation for approximately $70,000 per month in operations support.\u003c/p>\n\u003cp>“We’re anticipating that goes away completely for the foreseeable future,” Lori Fogarty, director of the museum, said in an interview. “That’s absolutely one of our biggest hits.”\u003c/p>\n\u003cp>The impact follows the cancellation of the museum’s annual gala March 14, which aimed to raise $350,000 (many supporters donated regardless), and comes atop the ongoing losses from ticket sales and programming. OMCA expects to lose $1.5 million through the summer.\u003c/p>\n\u003cp>The museum recently \u003ca href=\"https://www.kqed.org/arts/13878335/oakland-museum-of-california-announces-hours-reductions-affecting-106-workers\">reduced the hours\u003c/a> of 106 full-time employees, a measure meant to avoid layoffs. Only with the help of a federal loan was the museum able to temporarily restore them.\u003c/p>\n\u003cp>Fogarty noted the $2.5 million \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> in San Francisco, saying Oakland arts leaders could better organize to advocate for emergency relief from local government. But municipal budget crises tend to hasten privatization: The last recession spurred OMCA, for decades run by the City of Oakland, to reform as an independent nonprofit in 2011.\u003c/p>\n\u003cp>“There’s some parallels,” she said. “We were facing a decrease in funding then. But this is even more abrupt and far-reaching—I don’t know if there’s been a comparable moment.”\u003c/p>\n\u003cfigure id=\"attachment_13878341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg\" alt=\"Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California.\" width=\"1920\" height=\"1116\" class=\"size-full wp-image-13878341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/OMCA-courtesy-OMCA-1020x593.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Plunging hotel tax revenue threatens an important funding source for the Oakland Museum of California. \u003ccite>(Courtesy OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roberto Bedoya, Oakland’s cultural affairs manager, said in a statement that the effects of city finances on his department will become clear in the coming months as officials reassess the budget.\u003c/p>\n\u003cp>The Cultural Funding Program (CFP) regularly supports performing arts organizations such as Oakland Ballet, Lower Bottom Playaz and Ubuntu Theater; murals by Community Rejuvenation Project and Attitudinal Healing Connection; and has funded projects by metalworker \u003ca href=\"https://www.kqed.org/arts/13873207/the-hustle-karen-smith-metalsmith-oakland\">Karen Smith\u003c/a>, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13875585/in-alice-street-oakland-artist-activists-build-power-by-bridging-communities\">Alice Street\u003c/a>\u003c/em> director Spencer Wilkinson and \u003cem>There, There\u003c/em> author Tommy Orange.\u003c/p>\n\u003cp>In 2018 the cultural affairs unit published Oakland’s first \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Plan\u003c/a> in decades, detailing proposals to alleviate cost-of-living pressures on local artists and sustain community identity. Recently staff also worked to revive Oakland’s long-dormant \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">Cultural Commission\u003c/a>. But the unit has struggled to win additional funding above and beyond its hotel tax allocation to enact most of its policy goals.\u003c/p>\n\u003cp>Even assuming a continuing uptick in hotel tax revenue, the CFP’s grant-making budget was poised to \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">shrink\u003c/a> this year as a one-time boost from the 2017 budget cycle lapses.\u003c/p>\n\u003cp>And there’s recent precedent for officials raiding arts funds: $100,000 set aside for murals in 2017 disappeared before it could be spent, Bedoya said at a committee hearing earlier this year, due to anticipated revenue shortfalls after council members voted to reduce cannabis taxes.\u003c/p>\n\u003cp>Eric Arnold, Community Rejuvenation Project spokesperson and a longtime observer of Oakland’s equity and culture initiatives, believes the CFP’s few gains since the recession are in serious jeopardy—especially without a grassroots campaign to advocate for the program.\u003c/p>\n\u003cp>“The one-time increases for arts funding that we have seen came directly from community pressure,” Arnold said. “Right now, who’s even organized to make a budget request?”\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg\" alt=\"A panel of the disappearing "Universal Language" mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"1920\" height=\"1155\" class=\"size-full wp-image-13861187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A panel of the disappearing “Universal Language” mural, showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Arts Commission and related entity Grants for the Arts also expect hotel tax funding for cultural programs—significantly boosted by the 2018 passage of \u003ca href=\"https://www.kqed.org/news/11702680/proposition-e-seeks-to-restore-s-f-s-arts-and-culture-funding-clout\">Proposition E\u003c/a>—to dwindle as city finance officials \u003ca href=\"https://www.documentcloud.org/documents/6821861-March-Joint-Report-Memo-ACTIVE.html\">project\u003c/a> staggering losses of up to $288 million this fiscal year.\u003c/p>\n\u003cp>But San Francisco has more diversified revenue sources for its arts support, and Proposition E actually limits the losses to the Hotel Tax for the Arts fund. Hence, allocations to the fund are expected to only decline by $4.6 million to $28.8 million, according to a March 31 finance report.\u003c/p>\n\u003cp>Brent Miller, co-founder of Center for New Music, a San Francisco venue supported by Grants for the Arts, expects the grant-maker’s reserves to delay the effects on small nonprofits. For now, he’s more concerned about missing rental income that normally subsidizes programming.\u003c/p>\n\u003cp>“I’m hearing Grants for the Arts funding next year is kind of set in stone,” said Miller. “We’re really going to see the impact of that the following year, and then I don’t know what we’ll do.”\u003c/p>\n\u003cp>Arts funders at the state level are also shuddering. At a livestreamed California Arts Council meeting on April 1, commissioners debated relief measures, such as loosening grant restrictions to let organizations cover immediate payroll and rent costs with awards meant for specific projects.\u003c/p>\n\u003cp>The council’s grant-making budget has multiplied in recent years, totaling $35 million in 2020. But when talk turned to the council’s financial outlook, commissioners seemed to brace for cuts.\u003c/p>\n\u003cp>Ayanna Kiburi, the council’s deputy director, showed doubts about additional funding for cultural districts included in Governor Gavin Newsom’s budget proposal from this past January. “That probably won’t—we don’t know what’s going to happen,” Kiburi said.\u003c/p>\n\u003cp>The state funder is in turn awaiting federal support. The $2 trillion federal aid package approved last month includes $75 million each for the national endowments for the humanities and the arts, with 40 percent reserved for state partners such as California Arts Council.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the money remains in limbo. Nashormeh Lindo, a council member based in Oakland, said the “amount, timing and mechanism” of the additional national endowment funding is unknown.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every night, dozens of people separately sheltering in place log on to Zoom for a variety show that brings together the movers and shakers of the Bay Area’s nightlife, restaurant, wellness and cannabis industries for two hours of carefree fun.\u003c/p>\n\u003cp>Some conduct drunk makeup tutorials. Others lead the group in yoga sessions. And still others teach viewers how to roll lumpia and mix craft cocktails. Live performances alternate in 10–20 minute spurts while the chat blings with viewers’ commentary and shout-outs. And when it’s time for DJ sets, the screen lights up with videos of guests cooking dinner, dancing or hula-hooping in their homes.\u003c/p>\n\u003cp>That’s the scene at \u003ca href=\"https://www.instagram.com/insidelands2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Inside Lands\u003c/a>, a grassroots virtual party founded by J Tran, Jenn Lui and Kat Reyes, three friends who met in Oakland’s nightlife and bring together a breadth of expertise from different fields. Tran worked in music festivals and is part of a fashion and cannabis startup, \u003ca href=\"https://sundae.school/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundae School\u003c/a>, which seeks to destigmatize weed in the Asian American community. Lui is the manager of the popular Oakland bar and venue \u003ca href=\"https://www.instagram.com/7thwestoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">7th West\u003c/a>, known for rap DJ nights, patio concerts, Filipino food and colorful murals visible from BART. And Reyes is an ambulatory care nurse for the San Francisco Department of Public Health. [pullquote size='large' align='left' citation='J Tran, Inside Lands organizer']\u003cspan class=\"s1\">“During a global pandemic, the creatives are the historians.”[/pullquote]\u003c/span>\u003c/p>\n\u003cp>Together, they curate programming that resonates across subcultures, and 100% of proceeds go back to the performers. “We realized it became a safe space, and it became more than just music,” says Tran. “It became a program about mental wellness, learning new things, checking up on your friends.”\u003c/p>\n\u003cp>With Mental Health Monday and Wellness Wednesday happening weekly on Inside Lands, self-care is a big focus on top of the entertainment. “Because of the shelter-in-place situation, we’re coming across really serious issues of depression, feeling isolated, feeling like you’re going through this alone,” says Reyes. “And I think that’s why we value Inside Lands so much and why Inside Lands has been such a help for people.” [aside postid='arts_13878556']\u003c/p>\n\u003cp>Indeed, prior to shelter-in-place orders to stop the spread of coronavirus, medical experts already considered loneliness \u003ca href=\"https://www.psychologytoday.com/us/blog/envy/201902/loneliness-new-epidemic-in-the-usa\" target=\"_blank\" rel=\"noopener noreferrer\">an epidemic\u003c/a> that affected 47% of American adults. Because humans have evolved as social creatures, chronic isolation can trigger a stress response that increases blood pressure and is linked to early mortality. So social gatherings really can be a form of medicine.\u003c/p>\n\u003cp>Fortunately, daily Inside Lands events have created a tightly knit community, namely because Zoom software allows for interaction, enabling guests to keep in touch with or make new friends. One performer, for example, recently reached out to Tran, Lui and Reyes for tips on how to send money to a family member who was in trouble in the Philippines, which is currently under a strict lockdown.\u003c/p>\n\u003cp>“The idea of community and us jumping on when we need each other is the coolest thing I’ve seen so far,” Reyes says.\u003c/p>\n\u003cp>“Even if you’re quarantined alone, you have us still,” adds Lui. “And even if we don’t know you, we can get to know you.” [aside postid='arts_13876893']\u003c/p>\n\u003cp>Financially supporting the creative community is another major driving force of the event. The Inside Lands team, which also includes sound engineer Alan Chen and graphic designer Jordan Yee, tallies up each week’s Venmo donations and splits them equally among the week’s performers. That means those performing on a more low-key Tuesday evening make the same amount as those who share their talents more high-traffic days like Friday and Saturday.\u003c/p>\n\u003cp>The pay is typically modest, enough to cover about a week’s groceries, and organizers say they’re inspired by the fact that artists who are still employed at their day jobs often forgo their tips so the unemployed or furloughed can have more. Indeed, recent research from \u003ca href=\"http://filesforprogress.org/memos/the-staggering-economic-impact-coronavirus.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Data for Progress\u003c/a> shows that as many as 52% of people under 45 years old have had their work hours reduced or have been laid off since the start of the pandemic. “A lot of our friends are in the gig economy or restaurant industry so they were hurt first,” says Tran.\u003c/p>\n\u003cp>That spirit of generosity is a guiding principle of the event: some of the performers have plugged nonprofits during their sets, encouraging viewers at home to donate, and proceeds from a recent evening went entirely to the \u003ca href=\"https://www.accfb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda County Food Bank\u003c/a>. [aside postid='arts_13878393']\u003c/p>\n\u003cp>For those who miss going out, Inside Lands serves as a fun diversion. But Tran, Reyes and Lui see their mission as much deeper. They record each virtual gathering, creating a real-time archive of how people are adapting to the world’s drastic changes. Without a coronavirus vaccine in sight, it’s unclear what shape social interactions will take in the months to come. Years from now, Inside Lands will be a chronicle of this transitory time, from the old ways of the world to the new.\u003c/p>\n\u003cp>“During a global pandemic, the creatives are the historians,” Tran says. “And we’re documenting that everyday.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every night, dozens of people separately sheltering in place log on to Zoom for a variety show that brings together the movers and shakers of the Bay Area’s nightlife, restaurant, wellness and cannabis industries for two hours of carefree fun.\u003c/p>\n\u003cp>Some conduct drunk makeup tutorials. Others lead the group in yoga sessions. And still others teach viewers how to roll lumpia and mix craft cocktails. Live performances alternate in 10–20 minute spurts while the chat blings with viewers’ commentary and shout-outs. And when it’s time for DJ sets, the screen lights up with videos of guests cooking dinner, dancing or hula-hooping in their homes.\u003c/p>\n\u003cp>That’s the scene at \u003ca href=\"https://www.instagram.com/insidelands2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Inside Lands\u003c/a>, a grassroots virtual party founded by J Tran, Jenn Lui and Kat Reyes, three friends who met in Oakland’s nightlife and bring together a breadth of expertise from different fields. Tran worked in music festivals and is part of a fashion and cannabis startup, \u003ca href=\"https://sundae.school/\" target=\"_blank\" rel=\"noopener noreferrer\">Sundae School\u003c/a>, which seeks to destigmatize weed in the Asian American community. Lui is the manager of the popular Oakland bar and venue \u003ca href=\"https://www.instagram.com/7thwestoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">7th West\u003c/a>, known for rap DJ nights, patio concerts, Filipino food and colorful murals visible from BART. And Reyes is an ambulatory care nurse for the San Francisco Department of Public Health. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Together, they curate programming that resonates across subcultures, and 100% of proceeds go back to the performers. “We realized it became a safe space, and it became more than just music,” says Tran. “It became a program about mental wellness, learning new things, checking up on your friends.”\u003c/p>\n\u003cp>With Mental Health Monday and Wellness Wednesday happening weekly on Inside Lands, self-care is a big focus on top of the entertainment. “Because of the shelter-in-place situation, we’re coming across really serious issues of depression, feeling isolated, feeling like you’re going through this alone,” says Reyes. “And I think that’s why we value Inside Lands so much and why Inside Lands has been such a help for people.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, prior to shelter-in-place orders to stop the spread of coronavirus, medical experts already considered loneliness \u003ca href=\"https://www.psychologytoday.com/us/blog/envy/201902/loneliness-new-epidemic-in-the-usa\" target=\"_blank\" rel=\"noopener noreferrer\">an epidemic\u003c/a> that affected 47% of American adults. Because humans have evolved as social creatures, chronic isolation can trigger a stress response that increases blood pressure and is linked to early mortality. So social gatherings really can be a form of medicine.\u003c/p>\n\u003cp>Fortunately, daily Inside Lands events have created a tightly knit community, namely because Zoom software allows for interaction, enabling guests to keep in touch with or make new friends. One performer, for example, recently reached out to Tran, Lui and Reyes for tips on how to send money to a family member who was in trouble in the Philippines, which is currently under a strict lockdown.\u003c/p>\n\u003cp>“The idea of community and us jumping on when we need each other is the coolest thing I’ve seen so far,” Reyes says.\u003c/p>\n\u003cp>“Even if you’re quarantined alone, you have us still,” adds Lui. “And even if we don’t know you, we can get to know you.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Financially supporting the creative community is another major driving force of the event. The Inside Lands team, which also includes sound engineer Alan Chen and graphic designer Jordan Yee, tallies up each week’s Venmo donations and splits them equally among the week’s performers. That means those performing on a more low-key Tuesday evening make the same amount as those who share their talents more high-traffic days like Friday and Saturday.\u003c/p>\n\u003cp>The pay is typically modest, enough to cover about a week’s groceries, and organizers say they’re inspired by the fact that artists who are still employed at their day jobs often forgo their tips so the unemployed or furloughed can have more. Indeed, recent research from \u003ca href=\"http://filesforprogress.org/memos/the-staggering-economic-impact-coronavirus.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Data for Progress\u003c/a> shows that as many as 52% of people under 45 years old have had their work hours reduced or have been laid off since the start of the pandemic. “A lot of our friends are in the gig economy or restaurant industry so they were hurt first,” says Tran.\u003c/p>\n\u003cp>That spirit of generosity is a guiding principle of the event: some of the performers have plugged nonprofits during their sets, encouraging viewers at home to donate, and proceeds from a recent evening went entirely to the \u003ca href=\"https://www.accfb.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Alameda County Food Bank\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those who miss going out, Inside Lands serves as a fun diversion. But Tran, Reyes and Lui see their mission as much deeper. They record each virtual gathering, creating a real-time archive of how people are adapting to the world’s drastic changes. Without a coronavirus vaccine in sight, it’s unclear what shape social interactions will take in the months to come. Years from now, Inside Lands will be a chronicle of this transitory time, from the old ways of the world to the new.\u003c/p>\n\u003cp>“During a global pandemic, the creatives are the historians,” Tran says. “And we’re documenting that everyday.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Meghan and Harry Take Stonewalling UK Tabloids to a New Level",
"headTitle": "Meghan and Harry Take Stonewalling UK Tabloids to a New Level | KQED",
"content": "\u003cp>It speaks volumes about the Hulk-level rage of Harry and Meghan Markle that, even in the middle of one of the biggest health crises in living memory, they just can’t leave their fight with the British tabloids alone.\u003c/p>\n\u003cp>On Sunday evening, the ex-royal highnesses put four major U.K. tabloids on notice. The editors of \u003cem>The Daily Mail\u003c/em>, \u003cem>Sun\u003c/em>, \u003cem>Daily Mirror\u003c/em> and\u003cem> Daily Express \u003c/em>all received letters that said in part:\u003c/p>\n\u003cblockquote>\u003cp>The Duke and Duchess of Sussex will not be engaging with your outlet. There will be no corroboration and zero engagement. This is also a policy being instated for their communications team, in order to protect that team from the side of the industry that readers never see.\u003c/p>\u003c/blockquote>\n\u003cp>Though the move makes very little practical sense (aren’t more falsehoods likely to be published if the publications can’t reach the couple for comment?) it remains refreshing to behold yet another example of the couple’s pushback against the outlets that have actively sought to \u003ca href=\"https://www.kqed.org/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives\" target=\"_blank\" rel=\"noopener noreferrer\">torment Meghan Markle\u003c/a>.[aside postid='arts_13866072']\u003c/p>\n\u003cp>The trajectory of Harry and Meghan’s recent lives has been almost entirely dictated by their ongoing struggles with the British press. In addition to \u003ca href=\"https://www.kqed.org/arts/13872986/prince-harrys-rejection-of-the-royal-lifestyle-is-only-his-latest-rebellious-move\" target=\"_blank\" rel=\"noopener noreferrer\">quitting their roles\u003c/a> as senior royals, both are currently embroiled in official battles with the U.K. tabloids. Harry’s \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/04/prince-harry-begins-legal-proceedings-against-sun-and-mirror-meghan\" target=\"_blank\" rel=\"noopener noreferrer\">legal proceedings\u003c/a> against the owners of the \u003cem>Sun\u003c/em> and \u003cem>Mirror,\u003c/em> over alleged incidents of phone hacking, are ongoing. The couple’s \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/01/meghan-sues-mail-on-sunday-for-publishing-letter-to-her-father\" target=\"_blank\" rel=\"noopener noreferrer\">lawsuit against the \u003cem>Daily Mail\u003c/em>\u003c/a>\u003cem>, \u003c/em>over the publishing of a private letter from Markle to her father, has a hearing this Friday. [aside postid='arts_13875053']\u003c/p>\n\u003cp>Since the 1930s, the royal family’s unofficial motto has been “\u003ca href=\"https://www.cheatsheet.com/entertainment/heres-what-the-royal-family-motto-never-complain-never-explain-really-means.html/\" target=\"_blank\" rel=\"noopener noreferrer\">Never complain, never explain\u003c/a>.” It was a position initially adopted by Harry’s great-grandmother—known affectionately in the U.K. as “the Queen Mum”—after her husband, King George, found himself unexpectedly on the throne. (His brother Edward VIII abdicated in order to marry Wallis Simpson, an American divorcée. \u003cem>Ahem\u003c/em>. Sound familiar?) It is remarkable, then, just how much Harry and Meghan have taken to both complaining \u003cem>and\u003c/em> explaining.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A fight like this is probably overdue though. As \u003ca href=\"https://www.kqed.org/arts/13875053/the-suicide-of-caroline-flack-tabloid-gossip-and-the-power-of-uk-newspapers\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Arts reported\u003c/a> in February after the suicide of popular British TV presenter Caroline Flack, the daily tabloids wield an enormous degree of power in the U.K.—and they don’t always behave responsibly with it. And though questions around press conduct have swirled in Britain since the death of Princess Diana in 1997, no royal entity has ever fought the press like Harry and Meghan are currently doing.\u003c/p>\n\u003cp>Given their ongoing legal battles, and the fact that Harry and Meghan don’t have a history of collaborating with those four newspapers anyway, the letters sent out over the weekend feel symbolic. Harry and Meghan aren’t just doubling down on their position: they’re setting a precedent for other British public figures to throw down similar gauntlets. If Harry and Meghan are successful in their legal battles, the rules of press engagement in the U.K. may never be the same again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Harry and Meghan’s letter to the newspapers can be read in full below:\u003c/p>\n\u003cblockquote>\u003cp>As The Duke and Duchess of Sussex now settle into the next chapter of their lives and no longer receive any publicly funded support, we are writing to set a new media relations policy, specifically as it pertains to your organization.\u003c/p>\n\u003cp>Like you, The Duke and Duchess of Sussex believe that a free press is a cornerstone to any democracy—particularly in moments of crisis. At its best, this free press shines light on dark places, telling stories that would otherwise go untold, standing up for what’s right, challenging power, and holding those who abuse the system to account.\u003c/p>\n\u003cp>It has been said that journalism’s first obligation is to the truth. The Duke and Duchess of Sussex agree wholeheartedly.\u003c/p>\n\u003cp>It is gravely concerning that an influential slice of the media, over many years, has sought to insulate themselves from taking accountability for what they say or print—even when they know it to be distorted, false, or invasive beyond reason. When power is enjoyed without responsibility, the trust we all place in this much-needed industry is degraded.\u003c/p>\n\u003cp>There is a real human cost to this way of doing business and it affects every corner of society.\u003c/p>\n\u003cp>The Duke and Duchess of Sussex have watched people they know—as well as complete strangers—have their lives completely pulled apart for no good reason, other than the fact that salacious gossip boosts advertising revenue.\u003c/p>\n\u003cp>With that said, please note that the Duke and Duchess of Sussex will not be engaging with your outlet. There will be no corroboration and zero engagement. This is also a policy being instated for their communications team, in order to protect that team from the side of the industry that readers never see.\u003c/p>\n\u003cp>This policy is not about avoiding criticism. It’s not about shutting down public conversation or censoring accurate reporting. Media have every right to report on and indeed have an opinion on The Duke and Duchess of Sussex, good or bad. But it can’t be based on a lie.\u003c/p>\n\u003cp>They also want to be very clear: this is not in any way a blanket policy for all media.\u003c/p>\n\u003cp>The Duke and Duchess of Sussex are looking forward to working with journalists and media organizations all over the world, engaging with grassroots media, regional and local media, and young, up-and-coming journalists, to spotlight issues and causes that so desperately need acknowledging. And they look forward to doing whatever they can to help further opportunities for more diverse and underrepresented voices, who are needed now more than ever.\u003c/p>\n\u003cp>What they won’t do is offer themselves up as currency for an economy of click bait and distortion.\u003c/p>\n\u003cp>We are encouraged that this new approach will be heard and respected.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It speaks volumes about the Hulk-level rage of Harry and Meghan Markle that, even in the middle of one of the biggest health crises in living memory, they just can’t leave their fight with the British tabloids alone.\u003c/p>\n\u003cp>On Sunday evening, the ex-royal highnesses put four major U.K. tabloids on notice. The editors of \u003cem>The Daily Mail\u003c/em>, \u003cem>Sun\u003c/em>, \u003cem>Daily Mirror\u003c/em> and\u003cem> Daily Express \u003c/em>all received letters that said in part:\u003c/p>\n\u003cblockquote>\u003cp>The Duke and Duchess of Sussex will not be engaging with your outlet. There will be no corroboration and zero engagement. This is also a policy being instated for their communications team, in order to protect that team from the side of the industry that readers never see.\u003c/p>\u003c/blockquote>\n\u003cp>Though the move makes very little practical sense (aren’t more falsehoods likely to be published if the publications can’t reach the couple for comment?) it remains refreshing to behold yet another example of the couple’s pushback against the outlets that have actively sought to \u003ca href=\"https://www.kqed.org/arts/13866072/the-bullying-of-meghan-markle-continues-a-long-tradition-for-royal-wives\" target=\"_blank\" rel=\"noopener noreferrer\">torment Meghan Markle\u003c/a>.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The trajectory of Harry and Meghan’s recent lives has been almost entirely dictated by their ongoing struggles with the British press. In addition to \u003ca href=\"https://www.kqed.org/arts/13872986/prince-harrys-rejection-of-the-royal-lifestyle-is-only-his-latest-rebellious-move\" target=\"_blank\" rel=\"noopener noreferrer\">quitting their roles\u003c/a> as senior royals, both are currently embroiled in official battles with the U.K. tabloids. Harry’s \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/04/prince-harry-begins-legal-proceedings-against-sun-and-mirror-meghan\" target=\"_blank\" rel=\"noopener noreferrer\">legal proceedings\u003c/a> against the owners of the \u003cem>Sun\u003c/em> and \u003cem>Mirror,\u003c/em> over alleged incidents of phone hacking, are ongoing. The couple’s \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/01/meghan-sues-mail-on-sunday-for-publishing-letter-to-her-father\" target=\"_blank\" rel=\"noopener noreferrer\">lawsuit against the \u003cem>Daily Mail\u003c/em>\u003c/a>\u003cem>, \u003c/em>over the publishing of a private letter from Markle to her father, has a hearing this Friday. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the 1930s, the royal family’s unofficial motto has been “\u003ca href=\"https://www.cheatsheet.com/entertainment/heres-what-the-royal-family-motto-never-complain-never-explain-really-means.html/\" target=\"_blank\" rel=\"noopener noreferrer\">Never complain, never explain\u003c/a>.” It was a position initially adopted by Harry’s great-grandmother—known affectionately in the U.K. as “the Queen Mum”—after her husband, King George, found himself unexpectedly on the throne. (His brother Edward VIII abdicated in order to marry Wallis Simpson, an American divorcée. \u003cem>Ahem\u003c/em>. Sound familiar?) It is remarkable, then, just how much Harry and Meghan have taken to both complaining \u003cem>and\u003c/em> explaining.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A fight like this is probably overdue though. As \u003ca href=\"https://www.kqed.org/arts/13875053/the-suicide-of-caroline-flack-tabloid-gossip-and-the-power-of-uk-newspapers\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Arts reported\u003c/a> in February after the suicide of popular British TV presenter Caroline Flack, the daily tabloids wield an enormous degree of power in the U.K.—and they don’t always behave responsibly with it. And though questions around press conduct have swirled in Britain since the death of Princess Diana in 1997, no royal entity has ever fought the press like Harry and Meghan are currently doing.\u003c/p>\n\u003cp>Given their ongoing legal battles, and the fact that Harry and Meghan don’t have a history of collaborating with those four newspapers anyway, the letters sent out over the weekend feel symbolic. Harry and Meghan aren’t just doubling down on their position: they’re setting a precedent for other British public figures to throw down similar gauntlets. If Harry and Meghan are successful in their legal battles, the rules of press engagement in the U.K. may never be the same again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Harry and Meghan’s letter to the newspapers can be read in full below:\u003c/p>\n\u003cblockquote>\u003cp>As The Duke and Duchess of Sussex now settle into the next chapter of their lives and no longer receive any publicly funded support, we are writing to set a new media relations policy, specifically as it pertains to your organization.\u003c/p>\n\u003cp>Like you, The Duke and Duchess of Sussex believe that a free press is a cornerstone to any democracy—particularly in moments of crisis. At its best, this free press shines light on dark places, telling stories that would otherwise go untold, standing up for what’s right, challenging power, and holding those who abuse the system to account.\u003c/p>\n\u003cp>It has been said that journalism’s first obligation is to the truth. The Duke and Duchess of Sussex agree wholeheartedly.\u003c/p>\n\u003cp>It is gravely concerning that an influential slice of the media, over many years, has sought to insulate themselves from taking accountability for what they say or print—even when they know it to be distorted, false, or invasive beyond reason. When power is enjoyed without responsibility, the trust we all place in this much-needed industry is degraded.\u003c/p>\n\u003cp>There is a real human cost to this way of doing business and it affects every corner of society.\u003c/p>\n\u003cp>The Duke and Duchess of Sussex have watched people they know—as well as complete strangers—have their lives completely pulled apart for no good reason, other than the fact that salacious gossip boosts advertising revenue.\u003c/p>\n\u003cp>With that said, please note that the Duke and Duchess of Sussex will not be engaging with your outlet. There will be no corroboration and zero engagement. This is also a policy being instated for their communications team, in order to protect that team from the side of the industry that readers never see.\u003c/p>\n\u003cp>This policy is not about avoiding criticism. It’s not about shutting down public conversation or censoring accurate reporting. Media have every right to report on and indeed have an opinion on The Duke and Duchess of Sussex, good or bad. But it can’t be based on a lie.\u003c/p>\n\u003cp>They also want to be very clear: this is not in any way a blanket policy for all media.\u003c/p>\n\u003cp>The Duke and Duchess of Sussex are looking forward to working with journalists and media organizations all over the world, engaging with grassroots media, regional and local media, and young, up-and-coming journalists, to spotlight issues and causes that so desperately need acknowledging. And they look forward to doing whatever they can to help further opportunities for more diverse and underrepresented voices, who are needed now more than ever.\u003c/p>\n\u003cp>What they won’t do is offer themselves up as currency for an economy of click bait and distortion.\u003c/p>\n\u003cp>We are encouraged that this new approach will be heard and respected.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"title": "Online Art Auction Aims to Keep Museum of the African Diaspora Afloat",
"headTitle": "Online Art Auction Aims to Keep Museum of the African Diaspora Afloat | KQED",
"content": "\u003cp>An auction benefiting Museum of the African Diaspora (MoAD), one of the many Bay Area cultural organizations experiencing dramatic revenue shortfalls during mandatory closure, opens April 21 via the online marketplace Artsy and features works donated by a growing number of noted artists.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.artsy.net/auction/moad-diaspora-unite-artists-of-african-descent-benefit-auction-2020\">MoAD: Diaspora Unite!\u003c/a>” offers pieces by artists including Otis Kwame Kye Quaicoe, Amoako Boafo, Cassi Namoda, Lava Thomas, Rashaad Newsome, Dewey Crumpler, Adia Millett and American Artist, some of them created specifically to support the San Francisco museum.\u003c/p>\n\u003cp>“In these times of extreme challenge and uncertainty, we must work together as a community to collaboratively sustain our cultural institutions,” Monetta White, MoAD’s director, said in a statement. “We call on artists, donors, businesses, collectors and individuals to support this institution as a foundational platform for artists of African descent in the Bay Area and throughout the world.”\u003c/p>\n\u003cp>Museum of the African Diaspora, a Smithsonian affiliate, opened in 2005 and remains one of few museums in the United States focused exclusively on worldwide African diaspora culture.\u003c/p>\n\u003cp>The auction draws on many donations from artists, galleries and collectors from outside of the Bay Area. Participating galleries include Mariane Ibrahim (Chicago), James Fuentes (New York) and Goodman (South Africa) alongside locals Traywick Contemporary and Jenkins Johnson. Newsome, acclaimed for his video work, is among the participating artists previously exhibited at MoAD.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum continues to accept donated works until April 21. The auction closes May 5.\u003c/p>\n\u003cp>MoAD, closed to comply with shelter-in-place orders to stop the spread of the novel coronavirus, last month laid off seven staff members and reduced the hours of its remaining 11 employees, as KQED \u003ca href=\"https://www.kqed.org/arts/13877907/layoffs-hit-museum-of-the-african-diaspora-in-san-francisco\">previously reported\u003c/a>. White announced the “incredibly difficult and painful decision to reduce staff” on May 31, citing the closure’s impact on MoAD’s “already limited operating funds.”\u003c/p>\n\u003cp>Local cultural organizations including the San Francisco Museum of Modern Art, the Exploratorium and Oakland Museum of California have also made workforce reductions. (Oakland Museum of California has temporarily reversed \u003ca href=\"https://www.kqed.org/arts/13878335/oakland-museum-of-california-announces-hours-reductions-affecting-106-workers\">hours reductions\u003c/a> for full-time employees after receiving a federal payroll protection loan.) A survey of 145 arts groups, including MoAD, projects $73 million in losses in the coming months. MoAD reported $2 million in revenue for the fiscal year ending in 2018, tax records show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Below is a selection of artwork available at the auction.\u003c/p>\n\u003cfigure id=\"attachment_13878868\" class=\"wp-caption aligncenter\" style=\"max-width: 930px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Amoako-Boafo-Untitled-2020-Oil-on-canvas-70cm-x-50cm-Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery_.jpg\" alt=\"Amoako Boafo, 'Untitled,' 2020, Oil on canvas, 70cm x 50cm\" width=\"930\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Amoako-Boafo-Untitled-2020-Oil-on-canvas-70cm-x-50cm-Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery_.jpg 930w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Amoako-Boafo-Untitled-2020-Oil-on-canvas-70cm-x-50cm-Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery_-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Amoako-Boafo-Untitled-2020-Oil-on-canvas-70cm-x-50cm-Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery_-800x1101.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Amoako-Boafo-Untitled-2020-Oil-on-canvas-70cm-x-50cm-Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery_-768x1057.jpg 768w\" sizes=\"(max-width: 930px) 100vw, 930px\">\u003cfigcaption class=\"wp-caption-text\">Amoako Boafo, ‘Untitled,’ 2020, Oil on canvas, 70cm x 50cm \u003ccite>(Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13878865\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Otis-Kwame-Kye-Quaicoe-Wiyaala-2020-Oil-on-canvas-30-x-24-in.-Courtesy-of-the-artist-and-Roberts-Projects-Los-Angeles-CA..jpg\" alt=\"Otis Kwame Kye Quaicoe, 'Wiyaala,' 2020, Oil on canvas, 30 x 24 in.\" width=\"768\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Otis-Kwame-Kye-Quaicoe-Wiyaala-2020-Oil-on-canvas-30-x-24-in.-Courtesy-of-the-artist-and-Roberts-Projects-Los-Angeles-CA..jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Otis-Kwame-Kye-Quaicoe-Wiyaala-2020-Oil-on-canvas-30-x-24-in.-Courtesy-of-the-artist-and-Roberts-Projects-Los-Angeles-CA.-160x213.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Otis Kwame Kye Quaicoe, ‘Wiyaala,’ 2020, Oil on canvas, 30 x 24 in. \u003ccite>(Courtesy of the artist and Roberts Projects, Los Angeles, CA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13878864\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878864\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist..jpg\" alt=\"February James, 'In the spaciousness of uncertainty there is room to act,' 2020, Watercolor and ink on paper, 22 x 30 in. \" width=\"1920\" height=\"1446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist..jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist.-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist.-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist.-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist.-1020x768.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">February James, ‘In the spaciousness of uncertainty there is room to act,’ 2020, Watercolor and ink on paper, 22 x 30 in. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13878862\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY..jpg\" alt=\"American Artist, 'Delvin's Dignity Image,' 2019, Archival photograph on aluminum, 18 x 12 in.\" width=\"1480\" height=\"2218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY..jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY.-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY.-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY.-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY.-1020x1529.jpg 1020w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">American Artist, ‘Delvin’s Dignity Image,’ 2019,\u003cbr>Archival photograph on aluminum, 18 x 12 in. \u003ccite>(Courtesy of the artist and Keonig & Clinton, Brooklyn, NY.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13878863\" class=\"wp-caption aligncenter\" style=\"max-width: 1065px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878863\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/CASSIN_1-1.jpg\" alt=\"Cassi Namoda, 'Nouricce of Negus, from Abysinnia, posing by the moonlight,' 2020, Acrylic on canvas, 10 x 8 in.\" width=\"1065\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/CASSIN_1-1.jpg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/CASSIN_1-1-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/CASSIN_1-1-800x962.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/CASSIN_1-1-768x923.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/CASSIN_1-1-1020x1226.jpg 1020w\" sizes=\"(max-width: 1065px) 100vw, 1065px\">\u003cfigcaption class=\"wp-caption-text\">Cassi Namoda, ‘Nouricce of Negus, from Abysinnia, posing by the moonlight,’ 2020, Acrylic on\u003cbr>canvas, 10 x 8 in. \u003ccite>(Courtesy of the artist and Goodman Gallery (Johannesburg, Cape Town & London).)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The “MoAD: Diaspora Unite!” auction features works donated by dozens of artists.",
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"description": "The “MoAD: Diaspora Unite!” auction features works donated by dozens of artists.",
"title": "Online Art Auction Aims to Keep Museum of the African Diaspora Afloat | KQED",
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"headline": "Online Art Auction Aims to Keep Museum of the African Diaspora Afloat",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An auction benefiting Museum of the African Diaspora (MoAD), one of the many Bay Area cultural organizations experiencing dramatic revenue shortfalls during mandatory closure, opens April 21 via the online marketplace Artsy and features works donated by a growing number of noted artists.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.artsy.net/auction/moad-diaspora-unite-artists-of-african-descent-benefit-auction-2020\">MoAD: Diaspora Unite!\u003c/a>” offers pieces by artists including Otis Kwame Kye Quaicoe, Amoako Boafo, Cassi Namoda, Lava Thomas, Rashaad Newsome, Dewey Crumpler, Adia Millett and American Artist, some of them created specifically to support the San Francisco museum.\u003c/p>\n\u003cp>“In these times of extreme challenge and uncertainty, we must work together as a community to collaboratively sustain our cultural institutions,” Monetta White, MoAD’s director, said in a statement. “We call on artists, donors, businesses, collectors and individuals to support this institution as a foundational platform for artists of African descent in the Bay Area and throughout the world.”\u003c/p>\n\u003cp>Museum of the African Diaspora, a Smithsonian affiliate, opened in 2005 and remains one of few museums in the United States focused exclusively on worldwide African diaspora culture.\u003c/p>\n\u003cp>The auction draws on many donations from artists, galleries and collectors from outside of the Bay Area. Participating galleries include Mariane Ibrahim (Chicago), James Fuentes (New York) and Goodman (South Africa) alongside locals Traywick Contemporary and Jenkins Johnson. Newsome, acclaimed for his video work, is among the participating artists previously exhibited at MoAD.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum continues to accept donated works until April 21. The auction closes May 5.\u003c/p>\n\u003cp>MoAD, closed to comply with shelter-in-place orders to stop the spread of the novel coronavirus, last month laid off seven staff members and reduced the hours of its remaining 11 employees, as KQED \u003ca href=\"https://www.kqed.org/arts/13877907/layoffs-hit-museum-of-the-african-diaspora-in-san-francisco\">previously reported\u003c/a>. White announced the “incredibly difficult and painful decision to reduce staff” on May 31, citing the closure’s impact on MoAD’s “already limited operating funds.”\u003c/p>\n\u003cp>Local cultural organizations including the San Francisco Museum of Modern Art, the Exploratorium and Oakland Museum of California have also made workforce reductions. (Oakland Museum of California has temporarily reversed \u003ca href=\"https://www.kqed.org/arts/13878335/oakland-museum-of-california-announces-hours-reductions-affecting-106-workers\">hours reductions\u003c/a> for full-time employees after receiving a federal payroll protection loan.) A survey of 145 arts groups, including MoAD, projects $73 million in losses in the coming months. MoAD reported $2 million in revenue for the fiscal year ending in 2018, tax records show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Below is a selection of artwork available at the auction.\u003c/p>\n\u003cfigure id=\"attachment_13878868\" class=\"wp-caption aligncenter\" style=\"max-width: 930px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Amoako-Boafo-Untitled-2020-Oil-on-canvas-70cm-x-50cm-Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery_.jpg\" alt=\"Amoako Boafo, 'Untitled,' 2020, Oil on canvas, 70cm x 50cm\" width=\"930\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Amoako-Boafo-Untitled-2020-Oil-on-canvas-70cm-x-50cm-Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery_.jpg 930w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Amoako-Boafo-Untitled-2020-Oil-on-canvas-70cm-x-50cm-Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery_-160x220.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Amoako-Boafo-Untitled-2020-Oil-on-canvas-70cm-x-50cm-Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery_-800x1101.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Amoako-Boafo-Untitled-2020-Oil-on-canvas-70cm-x-50cm-Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery_-768x1057.jpg 768w\" sizes=\"(max-width: 930px) 100vw, 930px\">\u003cfigcaption class=\"wp-caption-text\">Amoako Boafo, ‘Untitled,’ 2020, Oil on canvas, 70cm x 50cm \u003ccite>(Courtesy-of-the-artist-and-Mariane-Ibrahim-Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13878865\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Otis-Kwame-Kye-Quaicoe-Wiyaala-2020-Oil-on-canvas-30-x-24-in.-Courtesy-of-the-artist-and-Roberts-Projects-Los-Angeles-CA..jpg\" alt=\"Otis Kwame Kye Quaicoe, 'Wiyaala,' 2020, Oil on canvas, 30 x 24 in.\" width=\"768\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Otis-Kwame-Kye-Quaicoe-Wiyaala-2020-Oil-on-canvas-30-x-24-in.-Courtesy-of-the-artist-and-Roberts-Projects-Los-Angeles-CA..jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Otis-Kwame-Kye-Quaicoe-Wiyaala-2020-Oil-on-canvas-30-x-24-in.-Courtesy-of-the-artist-and-Roberts-Projects-Los-Angeles-CA.-160x213.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Otis Kwame Kye Quaicoe, ‘Wiyaala,’ 2020, Oil on canvas, 30 x 24 in. \u003ccite>(Courtesy of the artist and Roberts Projects, Los Angeles, CA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13878864\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878864\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist..jpg\" alt=\"February James, 'In the spaciousness of uncertainty there is room to act,' 2020, Watercolor and ink on paper, 22 x 30 in. \" width=\"1920\" height=\"1446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist..jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist.-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist.-800x603.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist.-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/February-James-In-the-spaciousness-of-uncertainty-there-is-room-to-act-2020-Watercolor-and-ink-on-paper-22-x-30-in.-Courtesy-of-the-artist.-1020x768.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">February James, ‘In the spaciousness of uncertainty there is room to act,’ 2020, Watercolor and ink on paper, 22 x 30 in. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13878862\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY..jpg\" alt=\"American Artist, 'Delvin's Dignity Image,' 2019, Archival photograph on aluminum, 18 x 12 in.\" width=\"1480\" height=\"2218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY..jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY.-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY.-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY.-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/American-Artist-Delvin_s-Dignity-Image-2019-Archival-photograph-on-aluminum-18-x-12-in.-Courtesy-of-the-artist-and-Keonig-_-Clinton-Brooklyn-NY.-1020x1529.jpg 1020w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">American Artist, ‘Delvin’s Dignity Image,’ 2019,\u003cbr>Archival photograph on aluminum, 18 x 12 in. \u003ccite>(Courtesy of the artist and Keonig & Clinton, Brooklyn, NY.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13878863\" class=\"wp-caption aligncenter\" style=\"max-width: 1065px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878863\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/CASSIN_1-1.jpg\" alt=\"Cassi Namoda, 'Nouricce of Negus, from Abysinnia, posing by the moonlight,' 2020, Acrylic on canvas, 10 x 8 in.\" width=\"1065\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/CASSIN_1-1.jpg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/CASSIN_1-1-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/CASSIN_1-1-800x962.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/CASSIN_1-1-768x923.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/CASSIN_1-1-1020x1226.jpg 1020w\" sizes=\"(max-width: 1065px) 100vw, 1065px\">\u003cfigcaption class=\"wp-caption-text\">Cassi Namoda, ‘Nouricce of Negus, from Abysinnia, posing by the moonlight,’ 2020, Acrylic on\u003cbr>canvas, 10 x 8 in. \u003ccite>(Courtesy of the artist and Goodman Gallery (Johannesburg, Cape Town & London).)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"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.",
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