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"content": "\u003cp>Over the past seven years, Bay Area actor Lisa Anne Porter has gained a deep appreciation for her character Suzanne, the founder of a fictional private school in Berkeley and a mother of six who refuses to vaccinate her kids.\u003c/p>\n\u003cp>“I have enormous sympathy for someone who feels like the rest of the world looks at her like she’s crazy, and that she doesn’t have intelligence and integrity,” Porter said as she rehearsed to reprise her role in \u003ci>Eureka Day\u003c/i> at Mill Valley’s Marin Theatre. “Living with it for so long, there are other aspects of her that are really coming forward as to why she’s so triggered by what happens in the room. Certainly COVID and Black Lives Matter.”\u003c/p>\n\u003cp>\u003ci>Eureka Day\u003c/i> first premiered in 2018 at Berkeley’s Aurora Theatre, which is co-producing the play’s return to the Bay Area just a few months after \u003ca href=\"https://www.kqed.org/arts/13977120/eureka-day-jonathan-spector-tony-awards-interview\">it won a Tony Award, going to playwright Jonathan Spector, for Best Revival\u003c/a>. The play’s homecoming, which begins previews Thursday, Aug. 28, welcomes back Porter and many other members of the original Berkeley cast. Josh Costello, Aurora’s artistic director who directed the 2018 world premiere, returns to helm this production.\u003c/p>\n\u003cfigure id=\"attachment_13980456\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13980456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250819-EUREKADAY-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Director Josh Costello talks with the cast during a rehearsal for ‘Eureka Day’ at Marin Theatre in Mill Valley on Aug. 19, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The fact is that vaccines are safe and effective, and the play gives voice to somebody who is living in a different set of reality with a different set of facts, based on information that is false,” Costello said. “Yet the play does a really remarkable job of humanizing that character.” \u003c/p>\n\u003cp>The prescience of \u003ci>Eureka Day\u003c/i>, a satire about vaccine hesitancy at an elite Berkeley private school, partly explains the show’s wide appeal and successful global run. Spector sought to tell a story about people learning to come together despite their fundamentally different views. Meanwhile, the issue of vaccine politics has gained more poignancy, following the COVID-19 pandemic and the “Make America Healthy Again” movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One hilarious scene in particular predicted our Zoom-filled future: The audience sees the online chatroom that the actors discuss on stage in real time. Costello said that during the show’s first preview at Aurora, the audience laughter was so strong, lasting a full five minutes, it was difficult to hear the actors’ dialogue. In response, Spector rewrote the lines to make it less funny.\u003c/p>\n\u003cp>https://youtu.be/SukpRbP7joE?si=DoWcTs7sa7ojVGXF\u003c/p>\n\u003cp>“Being there that first day, we couldn’t hear one another. It was this moment of, ‘Do we just keep talking and hope that at the end we end up in the right place?’” Porter said. “It was unbelievable. I’ve never had an experience like that before.”\u003c/p>\n\u003cp>The return of \u003ci>Eureka Day\u003c/i> is bittersweet, however. This year, Aurora announced the suspension of its 2025–26 season due to ongoing financial difficulties. Costello said attendance, subscribers, donations and grants have decreased significantly since the pandemic, while expenses have risen.\u003c/p>\n\u003cp>[aside postID='arts_13978734']Marin Theatre hopes the relevant comedy can start its 2025-26 season on a high note, given its similar financial challenges. 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"headTitle": "Acorns Aren’t the Only Thing Korean and Ohlone Elders Have in Common | KQED",
"content": "\u003cp>[dropcap]O[/dropcap]n a crisp Friday afternoon in November, an intimate group of community elders gathered at \u003ca href=\"https://www.kqed.org/arts/tag/cafe-ohlone\">Cafe Ohlone\u003c/a> for a multi-course outdoor feast made with ingredients native to Northern California: acorn flour and fernbrake, pickleweed and sweet huckleberries. Founders Vincent Medina and Louis Trevino greeted the group in the Ohlone Chochenyo language, and as the dappled Berkeley sunlight gave way to evening, they spoke of how important it was for colonized peoples to keep their cultures alive.\u003c/p>\n\u003cp>In many ways, it was a typical dinner service at the Bay Area’s \u003ca href=\"https://www.kqed.org/arts/13912976/cafe-ohlone-hearst-museum-opening-singing-trees\">only dedicated Ohlone restaurant\u003c/a>, except for one notable difference: Nearly all of the diners in attendance were Korean elders, many of them monolingual. They had come to Cafe Ohlone to break bread with Ohlone neighbors they had met for the first time that day — to savor both the Korean \u003ci>and\u003c/i> Ohlone ways of preparing shared cultural ingredients such as acorn, and to hear and share stories that showed the many points of commonality between their two communities.\u003c/p>\n\u003cp>“We both value respect for our elders, making sure that they’re taken care of and loved, and that their wisdom is carried on into the future,” Medina said in his introductory remarks. “Our peoples have also survived hard times, and so we always keep our cultures close.”\u003c/p>\n\u003cfigure id=\"attachment_13930528\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_088.jpg\" alt=\"Two indigenous Ohlone men address a group of elderly Koreans while a female Korean translator looks on from the side. \" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Medina (right) spoke of the many points of connection between the Korean and Ohlone cultures, including a respect for elders and resilience in the face of hardship. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “story sharing supper” was a collaboration between Cafe Ohlone and a Korean American community organization called \u003ca href=\"https://www.ssiyagi.com/\">Ssi Ya Gi\u003c/a> (pronounced “shee-ya-ghee,” meaning “Seed Story” in Korean), whose members are based in Los Angeles and the Bay Area. It was the second in-person event of its kind — and the first in the Bay Area — for a group born out of the heightened sense of isolation that many homebound, elderly Korean immigrants experienced during the pandemic.\u003c/p>\n\u003cp>Hannah Pae, a Los Angeles-based landscape designer who co-founded Ssi Ya Gi in 2021, recalls how her own grandmother was living at a nursing home when the first wave of COVID hit the United States. “During lockdown, when my family could not visit her, her health deteriorated. She wasn’t eating Korean food; people in the nursing home couldn’t speak Korean,” Pae says. “It was just heartbreaking to feel so helpless and see her health decline so rapidly because of the isolation.”\u003c/p>\n\u003cfigure id=\"attachment_13930531\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930531\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_115.jpg\" alt=\"On a dining table, a boat-shaped paper tray of Korean acorn jellies molded into the shape of actual acorns. Decorative lemons and walnuts in their shell form a centerpiece for the table.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Acorn was served two ways: traditional Ohlone chilled acorn soup and, pictured here, Korean acorn jellies topped with soy sauce and scallions. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pae’s grandmother wound up passing away not long after the start of the pandemic. Driven by that painful experience, Pae started talking to Hyunch Sung, a landscape design colleague based in the East Bay, about putting together a project that would allow young Korean Americans to forge a “human-to-human connection” with seniors in their community to help alleviate some of that isolation. Eventually, the two of them teamed up a handful of other like-minded folks: plant designer Ginny Hwang, Yoon Ju Ellie Lee of the diasporic Korean arts collective \u003ca href=\"https://gyopo.us/\">GYOPO\u003c/a>, and community nonprofit consultant Grace Jiyun Lee, who’d spent those early months of the pandemic organizing hot meal deliveries for Korean elders through San Francisco’s Korean American Community Foundation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We knew we wanted to connect over food and plants,” Lee says. “We wanted to do this for our seniors but also for ourselves — as a learning for us and also [to share] information that would otherwise be lost with other interested community members.”\u003c/p>\n\u003cfigure id=\"attachment_13930530\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_031.jpg\" alt=\"A group of Korean elders seated at an outdoor wooden table toast each other with cups of makgeolli, a type of Korean rice alcohol.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Korean seniors toasted each other with cups of makgeolli, a milky-white rice liquor that’s traditional to Korea. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Power of a Zine\u003c/h2>\n\u003cp>What they came up with was a sort of cultural memory program that checked all of those boxes. First, Ssi Ya Gi volunteers would conduct extensive interviews with Korean elders about their food memories, as well as their lives at large. The interviews themselves — the act of \u003ci>really \u003c/i>listening to an elder’s story — helped provide some of the human connection that so many homebound seniors were missing during the pandemic. And because food is such an integral part of Korean culture, Ssi Yagi’s founders all agreed that it would make the perfect interview topic, providing a way to bridge language barriers and intergenerational barriers.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13899524,arts_13911528']\u003c/span>“We were thinking a lot about plants and food sustenance and the fact that historically, before the Industrial Revolution, Korea was a very agrarian country,” Lee explains. “So our seniors would have interesting stories about foods that they had in their childhood that couldn’t be found here — plants they would forage or grow in their home gardens.”\u003c/p>\n\u003cp>After the interviews, Ssi Ya Gi would collaborate with artists to create gorgeously illustrated zines based on each of the seniors’ food stories, both in English and translated back into Korean. The zines served a dual purpose: They made for lovely, personalized gifts to give back to those elders who had shared their stories. They also document a kind of oral history that’s too often lost to time and make those stories accessible to a whole new generation — starting with the zine-collecting folks in their 20s and 30s who make up the majority of Ssi Ya Gi’s \u003ca href=\"https://www.instagram.com/ssiyagi/?hl=en\">social media followers\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930540\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_012.jpg\" alt=\"A young Korean American woman looks on while an elderly Korean man in a face mask reads a zine.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Myung Kwang Shik reads a zine about his own food memories — about jjajangmyeon and his family’s rice farm. Hannah Pae (left), the zine’s author and illustrator, looks on. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Pae, who wrote and illustrated four of the zines herself, the interview process was at times quite challenging, requiring a lot of “gentle digging” to get these older immigrants to open up about their past lives. “Some of our seniors, we found it to be a little bit difficult to ask them about their favorite food memory because there was so little food at that time,” she explains. For Korean immigrants who came of age during Japanese occupation, the Korean War and the war’s aftermath, the hardships were what dominated their memories of those times. In some cases, the stories they eventually shared with Ssi Ya Gi’s interviewers were things they’d never even discussed with their own family members.\u003c/p>\n\u003cp>One senior in Los Angeles’ Koreatown talked about how, as a single mother of five, she had supported her family by working as a dairy farmer. Another recalled the shop in her coastal hometown that specialized in all different cuts of boiled whale meat. (“It tasted similar to pork belly.”) Yet another reveled in the memory of eating freshly harvested rice from his family’s rice farm. “Shiny and greasy,” as the elder described it, Korea’s original rice was, in his memory, so much more delicious than the high-yield, modern-day rice strain that was introduced in the 1970s.\u003c/p>\n\u003cp>In total, Ssi Ya Gi has published 10 zines to date — \u003ca href=\"https://www.ssiyagi.com/portfolio-2\">all available for purchase\u003c/a> as a way to support the organization’s ongoing community work with Korean elders in both Los Angeles and the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13930547\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_151.jpg\" alt=\"A woman sits in front of a spread of Korean and Ohlone dishes, including a colorful salad flecked with berries and nuts, and a bowl of bright red Korean spicy beef soup.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ssi Ya Gi’s Yoon Ju Ellie Lee enjoys a spread of Ohlone and Korean dishes, including a bountiful Ohlone salad and a bowl of soul-warming Korean fernbrake soup. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An Acorn Story\u003c/h2>\n\u003cp>The zines featured prominently at Ssi Ya Gi’s Cafe Ohlone dinner. Several elders whose stories had been memorialized in a zine were in attendance, and at one point, Myung Kwang Shik, the Los Angeles-based senior who’d shared the story of his family’s rice farm, stood up and proudly read a short excerpt from his zine. Mostly, Lee says, the dinner was one more way for the Ssi Ya Gi team to show their appreciation to these Korean elders who had entrusted them with their food memories.\u003c/p>\n\u003cp>It was also a part of the group’s plan to expand its work with elders to beyond just the Korean immigrant community. Ssi Ya Gi had hosted an earlier event at a community garden run by \u003ca href=\"https://www.cultivala.org/\">CultivaLA\u003c/a>, an urban agriculture nonprofit focused on providing healthy food access for the local Latinx community. The idea was to provide a forum for intercultural connection — to allow Latino and Korean elders to listen to each other’s stories.\u003c/p>\n\u003cfigure id=\"attachment_13930535\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_170.jpg\" alt=\"A elderly Korean woman in glasses looks on with a wistful expression on her face.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Korean elders listened with rapt attention as Cafe Ohlone’s founders spoke of the connections between their two cultures. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dinner at Cafe Ohlone was a strong point of evidence for the Ssi Ya Gi story-sharing model’s power for cross-cultural communication. The collaboration came about because Terremoto, the landscape design firm where Pae and fellow Ssi Ya Gi co-founder Hyunch Sung first met, had helped design \u003ca href=\"https://www.kqed.org/arts/13912976/cafe-ohlone-hearst-museum-opening-singing-trees\">Cafe Ohlone’s new space\u003c/a> at UC Berkeley’s Hearst Museum of Anthropology.\u003c/p>\n\u003cp>Having established a relationship with Medina and Trevino, Pae and Sung were struck by how many similarities there were between the Korean and Ohlone cultures. In addition to their mutual respect for elders and having both experienced the long-lasting effects of being colonized, Koreans and Ohlones also had a surprising number of food staples in common.\u003c/p>\n\u003cp>“There are so few cultures around the world who eat acorn,” Pae says. “We share acorn; we share fernbrake; we share buckwheat and mugwort. And we thought that this could be an incredible way to bridge our cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13930536\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930536\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_181.jpg\" alt=\"Chia porridge topped with a scattering of berries and roasted hazelnuts. \" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For dessert, there was Ohlone-style chia porridge topped with sweet huckleberries. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To showcase those similarities, Cafe Ohlone and Ssi Ya Gi put together a feast cooked by local Korean chefs and the Cafe Ohlone team. The meal began with two different preparations of acorn: There was cold, velvety Ohlone black oak acorn soup, mild and refreshing. And then there were savory Korean acorn jellies, molded into the shape of actual acorns and topped with soy sauce, green onions and sesame seeds. [pullquote size=\"large\" align=\"right\" citation=\"Hannah Pae\"]“There are so few cultures around the world who eat acorn. … And we thought that this could be an incredible way to bridge our cultures.”[/pullquote]\u003c/p>\n\u003cp>A procession of similarly abundant dishes followed. A spread of variously pickled and fermented Korean banchan to be eaten with steamed rice. A colorful Ohlone salad of watercress, pickleweed, roasted hazelnuts and at least three different kinds of berries, luxuriously dressed in walnut oil and blackberry-bay laurel coulis. And, courtesy of Oakland’s \u003ca href=\"https://seoulgomtang.co/\">Seoul Gom Tang\u003c/a>, bowls of hot, soul-warming yukgaejang, a Korean spicy beef soup made with fernbrake — also a typical Ohlone ingredient — cooked until impossibly tender and delicious.\u003c/p>\n\u003cp>At one point, Cafe Ohlone’s Trevino demonstrated the traditional Ohlone method for removing the skin from acorns using a 100-year-old wooden basket, gently rocking it back and forth in order to toss the peeled acorns up into the air and catch them again. Though most of the Korean elders couldn’t understand what Trevino was saying until after the translator spoke, they watched with rapt attention, completely engrossed in what he was doing. Several of the older Korean ladies imitated his sifting motion, chattering excitedly among themselves.\u003c/p>\n\u003cfigure id=\"attachment_13930533\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_120.jpg\" alt=\"Man in glasses tosses acorns into the air using a small wooden basket.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cafe Ohlone’s Louis Trevino demonstrates the traditional method for winnowing acorns. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13930532\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930532\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_118.jpg\" alt=\"Man in glasses tosses acorns into the air using a small wooden basket.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">As it turns out, the technique is nearly identical to the one used in Korea. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, one of them stood up and said, “We have that.” As it turns out, the traditional Korean method for winnowing acorns is almost entirely the same.\u003c/p>\n\u003cp>How many people could say they’ve shared in common an experience as specific as that?\u003c/p>\n\u003cp>Ssi Ya Gi’s founders say that’s precisely the kind of intercultural connection that they hope to foster. As Lee puts it, “Even though all of us in the collective are Korean American and our focus has been on interviewing Korean seniors, the themes are universal — and the desire to create community and retain cultural memories.”\u003c/p>\n\u003cfigure id=\"attachment_13930537\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930537\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_192.jpg\" alt=\"An elderly Korean woman in tinted glasses smiles as she shakes hands with an Ohlone man.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joanne Selby Kim, the subject of a zine about her memories of her father’s castella cakes, shakes hands with Medina at the end of the evening. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13930538\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_200.jpg\" alt=\"A Korean elder whimsically wears a colorful Ohlone blanket.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">As the evening cooled, the Cafe Ohlone team passed out colorful Ohlone blankets to keep their Korean guests warm. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, Ssi Ya Gi will continue that work by hosting a similar “listening supper” to celebrate Chuseok, the Korean harvest festival, in collaboration with the AAPI grassroots nonprofit \u003ca href=\"https://www.cutfruitcollective.org/\">Cut Fruit Collective\u003c/a>. Held in Oakland Chinatown, the event will bring together two different communities of elders — Korean and Chinese. Later this winter, the group will also host another event in Los Angeles to showcase oral histories that they’re collecting from both Korean and Latinx elders centered on the gochu, or chili pepper. The focus, once again, will be on cross-cultural exchange.\u003c/p>\n\u003cp>Back in Berkeley, the landmark Korean-Ohlone dinner wound down with laughter and embraces, as the Korean seniors thanked their Ohlone hosts for the delicious, one-of-a-kind meal.\u003c/p>\n\u003cp>“Come visit us again,” Cafe Ohlone’s Medina said as he leaned over to give one elderly Korean woman a hug. “We share so much in common.”\u003c/p>\n\u003cfigure id=\"attachment_13930539\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_238.jpg\" alt=\"A group photo features Ssi Ya Gi's staff of Korean American volunteers as well as the Ohlone co-owners of Cafe Ohlone.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Team Ssi Ya Gi + team Cafe Ohlone. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For updates on Ssi Ya Gi’s upcoming events in both Los Angeles and the Bay Area (specific dates TBD), following them on \u003ca href=\"https://www.instagram.com/ssiyagi/\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Ssi Ya Gi used food memories to connect with elderly Korean immigrants isolated by the pandemic.",
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"twTitle": "Acorns Aren’t the Only Thing Korean and Ohlone Elders Have in Common",
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"description": "Ssi Ya Gi used food memories to connect with elderly Korean immigrants isolated by the pandemic.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n a crisp Friday afternoon in November, an intimate group of community elders gathered at \u003ca href=\"https://www.kqed.org/arts/tag/cafe-ohlone\">Cafe Ohlone\u003c/a> for a multi-course outdoor feast made with ingredients native to Northern California: acorn flour and fernbrake, pickleweed and sweet huckleberries. Founders Vincent Medina and Louis Trevino greeted the group in the Ohlone Chochenyo language, and as the dappled Berkeley sunlight gave way to evening, they spoke of how important it was for colonized peoples to keep their cultures alive.\u003c/p>\n\u003cp>In many ways, it was a typical dinner service at the Bay Area’s \u003ca href=\"https://www.kqed.org/arts/13912976/cafe-ohlone-hearst-museum-opening-singing-trees\">only dedicated Ohlone restaurant\u003c/a>, except for one notable difference: Nearly all of the diners in attendance were Korean elders, many of them monolingual. They had come to Cafe Ohlone to break bread with Ohlone neighbors they had met for the first time that day — to savor both the Korean \u003ci>and\u003c/i> Ohlone ways of preparing shared cultural ingredients such as acorn, and to hear and share stories that showed the many points of commonality between their two communities.\u003c/p>\n\u003cp>“We both value respect for our elders, making sure that they’re taken care of and loved, and that their wisdom is carried on into the future,” Medina said in his introductory remarks. “Our peoples have also survived hard times, and so we always keep our cultures close.”\u003c/p>\n\u003cfigure id=\"attachment_13930528\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_088.jpg\" alt=\"Two indigenous Ohlone men address a group of elderly Koreans while a female Korean translator looks on from the side. \" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_088-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Medina (right) spoke of the many points of connection between the Korean and Ohlone cultures, including a respect for elders and resilience in the face of hardship. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The “story sharing supper” was a collaboration between Cafe Ohlone and a Korean American community organization called \u003ca href=\"https://www.ssiyagi.com/\">Ssi Ya Gi\u003c/a> (pronounced “shee-ya-ghee,” meaning “Seed Story” in Korean), whose members are based in Los Angeles and the Bay Area. It was the second in-person event of its kind — and the first in the Bay Area — for a group born out of the heightened sense of isolation that many homebound, elderly Korean immigrants experienced during the pandemic.\u003c/p>\n\u003cp>Hannah Pae, a Los Angeles-based landscape designer who co-founded Ssi Ya Gi in 2021, recalls how her own grandmother was living at a nursing home when the first wave of COVID hit the United States. “During lockdown, when my family could not visit her, her health deteriorated. She wasn’t eating Korean food; people in the nursing home couldn’t speak Korean,” Pae says. “It was just heartbreaking to feel so helpless and see her health decline so rapidly because of the isolation.”\u003c/p>\n\u003cfigure id=\"attachment_13930531\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930531\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_115.jpg\" alt=\"On a dining table, a boat-shaped paper tray of Korean acorn jellies molded into the shape of actual acorns. Decorative lemons and walnuts in their shell form a centerpiece for the table.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_115-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Acorn was served two ways: traditional Ohlone chilled acorn soup and, pictured here, Korean acorn jellies topped with soy sauce and scallions. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pae’s grandmother wound up passing away not long after the start of the pandemic. Driven by that painful experience, Pae started talking to Hyunch Sung, a landscape design colleague based in the East Bay, about putting together a project that would allow young Korean Americans to forge a “human-to-human connection” with seniors in their community to help alleviate some of that isolation. Eventually, the two of them teamed up a handful of other like-minded folks: plant designer Ginny Hwang, Yoon Ju Ellie Lee of the diasporic Korean arts collective \u003ca href=\"https://gyopo.us/\">GYOPO\u003c/a>, and community nonprofit consultant Grace Jiyun Lee, who’d spent those early months of the pandemic organizing hot meal deliveries for Korean elders through San Francisco’s Korean American Community Foundation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We knew we wanted to connect over food and plants,” Lee says. “We wanted to do this for our seniors but also for ourselves — as a learning for us and also [to share] information that would otherwise be lost with other interested community members.”\u003c/p>\n\u003cfigure id=\"attachment_13930530\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930530\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_031.jpg\" alt=\"A group of Korean elders seated at an outdoor wooden table toast each other with cups of makgeolli, a type of Korean rice alcohol.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_031-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Korean seniors toasted each other with cups of makgeolli, a milky-white rice liquor that’s traditional to Korea. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Power of a Zine\u003c/h2>\n\u003cp>What they came up with was a sort of cultural memory program that checked all of those boxes. First, Ssi Ya Gi volunteers would conduct extensive interviews with Korean elders about their food memories, as well as their lives at large. The interviews themselves — the act of \u003ci>really \u003c/i>listening to an elder’s story — helped provide some of the human connection that so many homebound seniors were missing during the pandemic. And because food is such an integral part of Korean culture, Ssi Yagi’s founders all agreed that it would make the perfect interview topic, providing a way to bridge language barriers and intergenerational barriers.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>“We were thinking a lot about plants and food sustenance and the fact that historically, before the Industrial Revolution, Korea was a very agrarian country,” Lee explains. “So our seniors would have interesting stories about foods that they had in their childhood that couldn’t be found here — plants they would forage or grow in their home gardens.”\u003c/p>\n\u003cp>After the interviews, Ssi Ya Gi would collaborate with artists to create gorgeously illustrated zines based on each of the seniors’ food stories, both in English and translated back into Korean. The zines served a dual purpose: They made for lovely, personalized gifts to give back to those elders who had shared their stories. They also document a kind of oral history that’s too often lost to time and make those stories accessible to a whole new generation — starting with the zine-collecting folks in their 20s and 30s who make up the majority of Ssi Ya Gi’s \u003ca href=\"https://www.instagram.com/ssiyagi/?hl=en\">social media followers\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930540\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_012.jpg\" alt=\"A young Korean American woman looks on while an elderly Korean man in a face mask reads a zine.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_012-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Myung Kwang Shik reads a zine about his own food memories — about jjajangmyeon and his family’s rice farm. Hannah Pae (left), the zine’s author and illustrator, looks on. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Pae, who wrote and illustrated four of the zines herself, the interview process was at times quite challenging, requiring a lot of “gentle digging” to get these older immigrants to open up about their past lives. “Some of our seniors, we found it to be a little bit difficult to ask them about their favorite food memory because there was so little food at that time,” she explains. For Korean immigrants who came of age during Japanese occupation, the Korean War and the war’s aftermath, the hardships were what dominated their memories of those times. In some cases, the stories they eventually shared with Ssi Ya Gi’s interviewers were things they’d never even discussed with their own family members.\u003c/p>\n\u003cp>One senior in Los Angeles’ Koreatown talked about how, as a single mother of five, she had supported her family by working as a dairy farmer. Another recalled the shop in her coastal hometown that specialized in all different cuts of boiled whale meat. (“It tasted similar to pork belly.”) Yet another reveled in the memory of eating freshly harvested rice from his family’s rice farm. “Shiny and greasy,” as the elder described it, Korea’s original rice was, in his memory, so much more delicious than the high-yield, modern-day rice strain that was introduced in the 1970s.\u003c/p>\n\u003cp>In total, Ssi Ya Gi has published 10 zines to date — \u003ca href=\"https://www.ssiyagi.com/portfolio-2\">all available for purchase\u003c/a> as a way to support the organization’s ongoing community work with Korean elders in both Los Angeles and the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13930547\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_151.jpg\" alt=\"A woman sits in front of a spread of Korean and Ohlone dishes, including a colorful salad flecked with berries and nuts, and a bowl of bright red Korean spicy beef soup.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_151-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ssi Ya Gi’s Yoon Ju Ellie Lee enjoys a spread of Ohlone and Korean dishes, including a bountiful Ohlone salad and a bowl of soul-warming Korean fernbrake soup. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An Acorn Story\u003c/h2>\n\u003cp>The zines featured prominently at Ssi Ya Gi’s Cafe Ohlone dinner. Several elders whose stories had been memorialized in a zine were in attendance, and at one point, Myung Kwang Shik, the Los Angeles-based senior who’d shared the story of his family’s rice farm, stood up and proudly read a short excerpt from his zine. Mostly, Lee says, the dinner was one more way for the Ssi Ya Gi team to show their appreciation to these Korean elders who had entrusted them with their food memories.\u003c/p>\n\u003cp>It was also a part of the group’s plan to expand its work with elders to beyond just the Korean immigrant community. Ssi Ya Gi had hosted an earlier event at a community garden run by \u003ca href=\"https://www.cultivala.org/\">CultivaLA\u003c/a>, an urban agriculture nonprofit focused on providing healthy food access for the local Latinx community. The idea was to provide a forum for intercultural connection — to allow Latino and Korean elders to listen to each other’s stories.\u003c/p>\n\u003cfigure id=\"attachment_13930535\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_170.jpg\" alt=\"A elderly Korean woman in glasses looks on with a wistful expression on her face.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_170-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Korean elders listened with rapt attention as Cafe Ohlone’s founders spoke of the connections between their two cultures. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dinner at Cafe Ohlone was a strong point of evidence for the Ssi Ya Gi story-sharing model’s power for cross-cultural communication. The collaboration came about because Terremoto, the landscape design firm where Pae and fellow Ssi Ya Gi co-founder Hyunch Sung first met, had helped design \u003ca href=\"https://www.kqed.org/arts/13912976/cafe-ohlone-hearst-museum-opening-singing-trees\">Cafe Ohlone’s new space\u003c/a> at UC Berkeley’s Hearst Museum of Anthropology.\u003c/p>\n\u003cp>Having established a relationship with Medina and Trevino, Pae and Sung were struck by how many similarities there were between the Korean and Ohlone cultures. In addition to their mutual respect for elders and having both experienced the long-lasting effects of being colonized, Koreans and Ohlones also had a surprising number of food staples in common.\u003c/p>\n\u003cp>“There are so few cultures around the world who eat acorn,” Pae says. “We share acorn; we share fernbrake; we share buckwheat and mugwort. And we thought that this could be an incredible way to bridge our cultures.”\u003c/p>\n\u003cfigure id=\"attachment_13930536\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930536\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_181.jpg\" alt=\"Chia porridge topped with a scattering of berries and roasted hazelnuts. \" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_181-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For dessert, there was Ohlone-style chia porridge topped with sweet huckleberries. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To showcase those similarities, Cafe Ohlone and Ssi Ya Gi put together a feast cooked by local Korean chefs and the Cafe Ohlone team. The meal began with two different preparations of acorn: There was cold, velvety Ohlone black oak acorn soup, mild and refreshing. And then there were savory Korean acorn jellies, molded into the shape of actual acorns and topped with soy sauce, green onions and sesame seeds. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A procession of similarly abundant dishes followed. A spread of variously pickled and fermented Korean banchan to be eaten with steamed rice. A colorful Ohlone salad of watercress, pickleweed, roasted hazelnuts and at least three different kinds of berries, luxuriously dressed in walnut oil and blackberry-bay laurel coulis. And, courtesy of Oakland’s \u003ca href=\"https://seoulgomtang.co/\">Seoul Gom Tang\u003c/a>, bowls of hot, soul-warming yukgaejang, a Korean spicy beef soup made with fernbrake — also a typical Ohlone ingredient — cooked until impossibly tender and delicious.\u003c/p>\n\u003cp>At one point, Cafe Ohlone’s Trevino demonstrated the traditional Ohlone method for removing the skin from acorns using a 100-year-old wooden basket, gently rocking it back and forth in order to toss the peeled acorns up into the air and catch them again. Though most of the Korean elders couldn’t understand what Trevino was saying until after the translator spoke, they watched with rapt attention, completely engrossed in what he was doing. Several of the older Korean ladies imitated his sifting motion, chattering excitedly among themselves.\u003c/p>\n\u003cfigure id=\"attachment_13930533\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_120.jpg\" alt=\"Man in glasses tosses acorns into the air using a small wooden basket.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_120-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cafe Ohlone’s Louis Trevino demonstrates the traditional method for winnowing acorns. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13930532\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930532\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_118.jpg\" alt=\"Man in glasses tosses acorns into the air using a small wooden basket.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_118-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">As it turns out, the technique is nearly identical to the one used in Korea. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, one of them stood up and said, “We have that.” As it turns out, the traditional Korean method for winnowing acorns is almost entirely the same.\u003c/p>\n\u003cp>How many people could say they’ve shared in common an experience as specific as that?\u003c/p>\n\u003cp>Ssi Ya Gi’s founders say that’s precisely the kind of intercultural connection that they hope to foster. As Lee puts it, “Even though all of us in the collective are Korean American and our focus has been on interviewing Korean seniors, the themes are universal — and the desire to create community and retain cultural memories.”\u003c/p>\n\u003cfigure id=\"attachment_13930537\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930537\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_192.jpg\" alt=\"An elderly Korean woman in tinted glasses smiles as she shakes hands with an Ohlone man.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_192-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Joanne Selby Kim, the subject of a zine about her memories of her father’s castella cakes, shakes hands with Medina at the end of the evening. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13930538\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_200.jpg\" alt=\"A Korean elder whimsically wears a colorful Ohlone blanket.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_200-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">As the evening cooled, the Cafe Ohlone team passed out colorful Ohlone blankets to keep their Korean guests warm. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, Ssi Ya Gi will continue that work by hosting a similar “listening supper” to celebrate Chuseok, the Korean harvest festival, in collaboration with the AAPI grassroots nonprofit \u003ca href=\"https://www.cutfruitcollective.org/\">Cut Fruit Collective\u003c/a>. Held in Oakland Chinatown, the event will bring together two different communities of elders — Korean and Chinese. Later this winter, the group will also host another event in Los Angeles to showcase oral histories that they’re collecting from both Korean and Latinx elders centered on the gochu, or chili pepper. The focus, once again, will be on cross-cultural exchange.\u003c/p>\n\u003cp>Back in Berkeley, the landmark Korean-Ohlone dinner wound down with laughter and embraces, as the Korean seniors thanked their Ohlone hosts for the delicious, one-of-a-kind meal.\u003c/p>\n\u003cp>“Come visit us again,” Cafe Ohlone’s Medina said as he leaned over to give one elderly Korean woman a hug. “We share so much in common.”\u003c/p>\n\u003cfigure id=\"attachment_13930539\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/OhloneKorean_HW_238.jpg\" alt=\"A group photo features Ssi Ya Gi's staff of Korean American volunteers as well as the Ohlone co-owners of Cafe Ohlone.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/OhloneKorean_HW_238-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Team Ssi Ya Gi + team Cafe Ohlone. \u003ccite>(Courtesy of Hardy Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on Ssi Ya Gi’s upcoming events in both Los Angeles and the Bay Area (specific dates TBD), following them on \u003ca href=\"https://www.instagram.com/ssiyagi/\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "adam-bessie-going-remote-pandemic-comic-graphic-novel-peter-glanting-seven-stories",
"title": "An East Bay Teacher Shares His Pandemic Experience in a Compelling New Graphic Novel",
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"headTitle": "An East Bay Teacher Shares His Pandemic Experience in a Compelling New Graphic Novel | KQED",
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"content": "\u003cp>In the opening pages of the new graphic novel \u003cem>Going Remote: A Teacher’s Journey\u003c/em>, we see Hercules-based teacher \u003ca href=\"https://adambessie.com/\">Adam Bessie\u003c/a> talking to his students about E.M. Forster’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Machine_Stops\">\u003cem>The Machine Stops\u003c/em>\u003c/a>. The 1909 sci-fi classic is about a distant future in which humans live underground, each in isolated cells, communicating only through screens connected by a single machine. The date of Bessie’s class is Feb. 15, 2020, and he is teaching English at \u003ca href=\"https://www.dvc.edu/\">Diablo Valley College\u003c/a> in Pleasant Hill. No one in the room knows just how prophetic Forster’s story is about to become.\u003c/p>\n\u003cp>[aside postid='pop_21265']Bessie and illustrator \u003ca href=\"https://www.peterglantingdraws.com/\">Peter Glanting\u003c/a>’s book documents the very recent past — one that each and every one of us just lived through — but Bessie’s perspective is particularly valuable. First, he is immunocompromised. He has been living with brain cancer for over a decade and his health hangs in the balance. Second, he is a teacher: a profession that was forced to adapt overnight to entirely new methods, and then expected to venture back into the world before most. Third, Bessie is a community college teacher specifically dedicated to working with financially challenged students.\u003c/p>\n\u003cp>The devastation and frustration Bessie feels to lose pupils because of the technological requirements of remote learning is palpable throughout \u003cem>Going Remote\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13928952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GoingRemote_text_37-800x1203.jpeg\" alt=\"A page with nine small black and white panels depicting a teacher trying to talk to one of his students. He is talking to a muted black square.\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-800x1203.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-1020x1534.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-160x241.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-768x1155.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-1021x1536.jpeg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-1361x2048.jpeg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37.jpeg 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Bessie deals with the disconnections involved with remote teaching in ‘Going Remote: A Teacher’s Journey.’ \u003ccite>(Seven Stories Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bessie’s classroom, as depicted in the book, is lively, his students are engaged and jovial, and he’s the kind of teacher who moves chairs into circles every week. When he does this, he explains here, “There is an invisible force, an electrical current that flows through the room — through not just voices, but facial expressions, body language. An infectious energy.” The circles and group discussions in his classroom, Bessie writes, transform the space from “a random collection of students” into a real “community.” It’s clear that in the pandemic Bessie didn’t just lose a physical space, he lost the very thing that made him love his job the most.\u003c/p>\n\u003cp>[aside postid='arts_13923915']Bessie’s devastation to be separated from his students is conveyed effectively in his own words and by Glanting’s engaging black-and-white illustrations. When it comes to presenting group settings, Glanting pans out, depicting lively, bustling scenes from an admiring, far-off vantage point. Bessie’s busy classroom is viewed from above; the pre-pandemic Diablo Valley College campus is presented from a bird’s-eye perspective. In the scenes after shelter in place starts, Glanting’s panels are close, cropped, smaller. There are boxes of black, muted screens. The illustrations viscerally convey the claustrophobia and isolation we all experienced throughout most of 2020 and 2021. Heightening those elements are Bessie and Glanting’s frequent embrace of dystopic sci-fi imagery.\u003c/p>\n\u003cfigure id=\"attachment_13928951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GoingRemote_text_41-800x609.jpeg\" alt=\"One panel illustrates a human figure bursting through a screen with the text ’Who will return?’ Next to it is another: a woman with a mute sign obscuring her face with the text ‘Who will never come back?’\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41-800x609.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41-1020x776.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41-160x122.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41-768x585.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41-1536x1169.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41.jpeg 1624w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students lost in the tech abyss in ‘Going Remote: A Teacher’s Journey’ by Adam Bessie and Peter Glanting. \u003ccite>(Seven Stories Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Going Remote\u003c/em>, Bessie and Glanting also capture the strangeness of a home life where each family member is forced into separate corners for different Zoom calls. Bessie touches on the mental health crisis that snuck into his work as students struggled at home. He also presents scenes from the racial reckoning of summer 2020, taking his young son to a Black Lives Matter demonstration in downtown Oakland. Two full pages of the graphic novel are dedicated to simply listing the hundreds of names of Black Americans, including George Floyd, who have died in racist killings in recent American history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13924431']\u003cem>Going Remote: A Teacher’s Journey\u003c/em> is ultimately at its best when Bessie is sharing his views and feelings about public education and the power of community. This book might only be a chronicle of one teacher’s attempts to keep his class together during the COVID pandemic, but it clearly reflects the experiences of thousands and thousands of other teachers waging similar battles across the country, and around the globe.\u003c/p>\n\u003cp>In examining the circumstances that separated us in the first place, Bessie indirectly makes a case for communities to come back together in more literal and robust ways. Through his and Glanting’s eyes, that feels as urgent now as staying home did in 2020.\u003c/p>\n\u003cfigure id=\"attachment_13924685\" class=\"wp-caption alignnone\" style=\"max-width: 794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-02-at-4.00.13-PM.png\" alt=\"An illustration shows a large building with many windows floating on a small piece of rock in space.\" width=\"794\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-02-at-4.00.13-PM.png 794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-02-at-4.00.13-PM-160x254.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-02-at-4.00.13-PM-768x1219.png 768w\" sizes=\"(max-width: 794px) 100vw, 794px\">\u003cfigcaption class=\"wp-caption-text\">‘Cloud College,’ an image from ‘Going Remote’ by Adam Bessie and Peter Glanting. \u003ccite>(Illustration by Peter Glanting)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003cem>‘Going Remote: A Teacher’s Journey’ by Adam Bessie and Peter Glanting is out May 16, 2023, via \u003ca href=\"https://www.sevenstories.com/books/4488-going-remote\">Seven Stories Press\u003c/a> and \u003ca href=\"https://censoredpress.org/\">The Censored Press\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "‘Going Remote’ Graphic Novel: Teaching in the Pandemic Void | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the opening pages of the new graphic novel \u003cem>Going Remote: A Teacher’s Journey\u003c/em>, we see Hercules-based teacher \u003ca href=\"https://adambessie.com/\">Adam Bessie\u003c/a> talking to his students about E.M. Forster’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Machine_Stops\">\u003cem>The Machine Stops\u003c/em>\u003c/a>. The 1909 sci-fi classic is about a distant future in which humans live underground, each in isolated cells, communicating only through screens connected by a single machine. The date of Bessie’s class is Feb. 15, 2020, and he is teaching English at \u003ca href=\"https://www.dvc.edu/\">Diablo Valley College\u003c/a> in Pleasant Hill. No one in the room knows just how prophetic Forster’s story is about to become.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bessie and illustrator \u003ca href=\"https://www.peterglantingdraws.com/\">Peter Glanting\u003c/a>’s book documents the very recent past — one that each and every one of us just lived through — but Bessie’s perspective is particularly valuable. First, he is immunocompromised. He has been living with brain cancer for over a decade and his health hangs in the balance. Second, he is a teacher: a profession that was forced to adapt overnight to entirely new methods, and then expected to venture back into the world before most. Third, Bessie is a community college teacher specifically dedicated to working with financially challenged students.\u003c/p>\n\u003cp>The devastation and frustration Bessie feels to lose pupils because of the technological requirements of remote learning is palpable throughout \u003cem>Going Remote\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13928952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GoingRemote_text_37-800x1203.jpeg\" alt=\"A page with nine small black and white panels depicting a teacher trying to talk to one of his students. He is talking to a muted black square.\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-800x1203.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-1020x1534.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-160x241.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-768x1155.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-1021x1536.jpeg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37-1361x2048.jpeg 1361w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_37.jpeg 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Bessie deals with the disconnections involved with remote teaching in ‘Going Remote: A Teacher’s Journey.’ \u003ccite>(Seven Stories Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bessie’s classroom, as depicted in the book, is lively, his students are engaged and jovial, and he’s the kind of teacher who moves chairs into circles every week. When he does this, he explains here, “There is an invisible force, an electrical current that flows through the room — through not just voices, but facial expressions, body language. An infectious energy.” The circles and group discussions in his classroom, Bessie writes, transform the space from “a random collection of students” into a real “community.” It’s clear that in the pandemic Bessie didn’t just lose a physical space, he lost the very thing that made him love his job the most.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bessie’s devastation to be separated from his students is conveyed effectively in his own words and by Glanting’s engaging black-and-white illustrations. When it comes to presenting group settings, Glanting pans out, depicting lively, bustling scenes from an admiring, far-off vantage point. Bessie’s busy classroom is viewed from above; the pre-pandemic Diablo Valley College campus is presented from a bird’s-eye perspective. In the scenes after shelter in place starts, Glanting’s panels are close, cropped, smaller. There are boxes of black, muted screens. The illustrations viscerally convey the claustrophobia and isolation we all experienced throughout most of 2020 and 2021. Heightening those elements are Bessie and Glanting’s frequent embrace of dystopic sci-fi imagery.\u003c/p>\n\u003cfigure id=\"attachment_13928951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GoingRemote_text_41-800x609.jpeg\" alt=\"One panel illustrates a human figure bursting through a screen with the text ’Who will return?’ Next to it is another: a woman with a mute sign obscuring her face with the text ‘Who will never come back?’\" width=\"800\" height=\"609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41-800x609.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41-1020x776.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41-160x122.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41-768x585.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41-1536x1169.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GoingRemote_text_41.jpeg 1624w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students lost in the tech abyss in ‘Going Remote: A Teacher’s Journey’ by Adam Bessie and Peter Glanting. \u003ccite>(Seven Stories Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Going Remote\u003c/em>, Bessie and Glanting also capture the strangeness of a home life where each family member is forced into separate corners for different Zoom calls. Bessie touches on the mental health crisis that snuck into his work as students struggled at home. He also presents scenes from the racial reckoning of summer 2020, taking his young son to a Black Lives Matter demonstration in downtown Oakland. Two full pages of the graphic novel are dedicated to simply listing the hundreds of names of Black Americans, including George Floyd, who have died in racist killings in recent American history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Going Remote: A Teacher’s Journey\u003c/em> is ultimately at its best when Bessie is sharing his views and feelings about public education and the power of community. This book might only be a chronicle of one teacher’s attempts to keep his class together during the COVID pandemic, but it clearly reflects the experiences of thousands and thousands of other teachers waging similar battles across the country, and around the globe.\u003c/p>\n\u003cp>In examining the circumstances that separated us in the first place, Bessie indirectly makes a case for communities to come back together in more literal and robust ways. Through his and Glanting’s eyes, that feels as urgent now as staying home did in 2020.\u003c/p>\n\u003cfigure id=\"attachment_13924685\" class=\"wp-caption alignnone\" style=\"max-width: 794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-02-at-4.00.13-PM.png\" alt=\"An illustration shows a large building with many windows floating on a small piece of rock in space.\" width=\"794\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-02-at-4.00.13-PM.png 794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-02-at-4.00.13-PM-160x254.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Screen-Shot-2023-02-02-at-4.00.13-PM-768x1219.png 768w\" sizes=\"(max-width: 794px) 100vw, 794px\">\u003cfigcaption class=\"wp-caption-text\">‘Cloud College,’ an image from ‘Going Remote’ by Adam Bessie and Peter Glanting. \u003ccite>(Illustration by Peter Glanting)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003cem>‘Going Remote: A Teacher’s Journey’ by Adam Bessie and Peter Glanting is out May 16, 2023, via \u003ca href=\"https://www.sevenstories.com/books/4488-going-remote\">Seven Stories Press\u003c/a> and \u003ca href=\"https://censoredpress.org/\">The Censored Press\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Musicians Are Back On the Road, But Every Day Is a Gamble",
"headTitle": "Musicians Are Back On the Road, But Every Day Is a Gamble | KQED",
"content": "\u003cp>Last year was a career-defining one for Tia Cabral, the experimental singer-songwriter known as \u003ca href=\"https://www.spelllingmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spellling\u003c/a>. With her 2021 album \u003cem>The Turning Wheel\u003c/em>, she evolved from bedroom artist to maximalist composer, enlisting over two dozen instrumentalists to execute her surreal vision. It caught on: The album got rave reviews, and by the end of the year, new fans from across the world had begun asking when they would see her in concert.\u003c/p>\n\u003cp>Cabral had hesitations about pandemic-era touring. The infection rates for COVID-19 had returned with a force after receding that summer, and she knew that indoor gatherings of strangers are the exact setting where risk of exposure to the virus multiplies. But she also sensed a moment of hard-won opportunity that would not last forever. “It was too hard to turn it down [because of] my eagerness to share the music that I spent so long writing,” the Oakland artist says. “I’m like, I just want to do it.” She booked a short European trip for May and June 2022 consisting of outdoor festival gigs, which she figured would be safer than playing clubs.\u003c/p>\n\u003cp>Things went well at first: Cabral and her band kept interactions outside their bubble to a minimum, wore masks as much as possible and agreed to test for COVID immediately if anyone felt unwell. But the mood changed in early June, when they arrived in Barcelona for the sprawling Primavera Sound festival. “It’s called Primavera in the City—it’s literally all over the city. There are so many people everywhere you go,” Cabral says. “So it became really hard to avoid, and stick to our regimen.” Finally, at a stop in Portugal, a bandmate tested positive. Cabral made the tough call to cancel her remaining shows, and paid for her collaborator’s quarantine in a hotel. “It just isn’t right to move forward into the unknown and into this risk for ourselves and other people,” she says.\u003c/p>\n\u003cp>Obstacles like the ones Cabral encountered are now features of life on the road. COVID rates in the U.S. stayed relatively high this spring and summer, and have only recently begun to dip (though the official stats don’t account for unreported home tests). But beyond the numbers, many musicians have found a set of complex and wearying tradeoffs await them on tour lately. The maze-like logistics of COVID safety are theirs to navigate, with little support from governments or their industry. Mask mandates and similar risk-reduction policies have evaporated. And audiences, perhaps starved for social connection and a sense of normalcy, have largely reverted to pre-pandemic behavior. For those operating below the very highest levels of success and infrastructure, the increased health and financial risks of mounting live music—and the burden of trying to avoid them—tend to fall hardest on the individual performers.\u003c/p>\n\u003cp>“We’re not health officials or experts,” says \u003ca href=\"https://www.panacherock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Panache Booking\u003c/a>‘s Michelle Cable, who manages Spellling, Ty Segall, Mac DeMarco and others, and books tours for artists such as Bikini Kill and Ezra Furman. “It’s added a whole other extra layer of complication and stress to touring, which is already stressful without what’s happened in the last two to three years.” [aside postid='arts_13918908']\u003c/p>\n\u003ch3>A domino effect of financial losses\u003c/h3>\n\u003cp>Brijean Murphy is one half of the Los Angeles disco-house duo Brijean and a touring percussionist with the bands Poolside and Toro y Moi. Prior to the pandemic, Murphy toured six months out of the year, and was well-acquainted with the job’s common headaches: the busy travel schedules, cramped conditions and missed sleep, often without a huge financial payoff at the end. But lately, she says even the more mundane parts of road life—like flying on planes, where masks are no longer required—now come with “financial, personal and spiritual repercussions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year, the bands Murphy works with have avoided going on long runs like they used to; she’s played a few Brijean shows and some one-offs with Poolside. Despite masking and regular testing, she came down with COVID-19 in May after a string of European concerts, and had to quarantine on the East Coast. As if it weren’t enough to be sick, alone and burning money while stranded far from home, healing time from COVID can be unpredictable—the CDC estimates that nearly one in five U.S. adults experiences \u003ca href=\"https://www.cdc.gov/nchs/pressroom/nchs_press_releases/2022/20220622.htm\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms lasting more than three months\u003c/a>—which can delay a musician’s return to the stage well after they’ve ceased to be contagious.\u003c/p>\n\u003cp>“There are just so many moving parts,” Brijean says, describing her stress. “And I think on top of everybody being worked so hard, your dollar doesn’t go as far as it used to.”\u003c/p>\n\u003cp>Indeed, inflation hit a 40-year high in June and has come down only slightly, adding more financial pressure as musicians attempt to bounce back from two years without performance income. And as the BA.5 variant spread, show cancellations due to COVID were commonplace throughout the summer. Bikini Kill called off nearly two dozen shows when several members got sick. Blondie, touring in support of a career-spanning box set, canceled or postponed dates in Boston, New York and Connecticut. Rakim canceled his European tour, which was supposed to take place in August.\u003c/p>\n\u003cp>“After a month in which we have had several COVID cases in our crew and even more close contacts requiring quarantine, it is our sad consensus that extensive foreign travel (in my case by cruise ship) is neither safe nor logistically possible,” the \u003ca href=\"https://rockthebells.com/articles/rakim-cancels-his-2022-european-tour-amid-covid-concerns/\" target=\"_blank\" rel=\"noopener noreferrer\">rap veteran wrote\u003c/a> in a statement.\u003c/p>\n\u003cp>So what happens when shows are canceled due to COVID? If they aren’t able to reschedule lost dates, artists are obligated to refund tickets and, if applicable, give venues back their deposits. Cable says musicians who travel with a crew typically have agreements for how to compensate them in the event of cancellations; these vary, but a typical one might require paying everyone half their wages. Travel may need to be rebooked, and quarantine hotels secured. Any money already spent on promotion is likely non-refundable. Additionally, if a show doesn’t happen, a booking agent like Cable doesn’t collect her commission after putting in as much as three years of work to make a concert happen. [aside postid='arts_13918796']\u003c/p>\n\u003cp>If only to avoid these headaches, many artists take extra pains to keep themselves safe from COVID on the road as much as possible—although Cable says that even among musicians, that vigilance has waned. When we spoke in June, she shared that it was common for artists to request that venues require proof of vaccination or a negative PCR test at the door, whether or not the local government had a mandate in place. As the summer progressed, she says, fewer clubs made this a regular practice, and performers began to follow suit. Some of her artists still ask for signage requesting that showgoers wear masks, and may even provide face coverings for audiences—but she says few patrons actually wear them, and those who do often shed them while eating, drinking, dancing or moshing.\u003c/p>\n\u003cp>Artists with bigger budgets may hire COVID compliance officers to ensure that health measures are observed, or travel separately from the rest of the touring party to further minimize exposure. These added precautions, of course, all come at a price.\u003c/p>\n\u003cp>“COVID tests are expensive, masks are expensive, extra hotel rooms are expensive,” Cable says. “When you’re checking at the door, it’s an extra expense of having extra people hired. … That comes out of the show settlement, meaning it ultimately comes out of the band’s payments.”\u003c/p>\n\u003cp>And there’s another, less obvious cost to these arrangements: Musicians who close off backstage areas and stay away from the merch table miss out on potential networking and connections that could lead to future work. “A big part of being a freelancer and being in this field, like many fields probably, is that you can meet up with people, have social interactions, connect with people and then follow that connection,” Murphy says, “[whether] it’s working on an album together later or getting hired to go on their tour or collaborate on a different session.”\u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performs at Outside Lands in San Francisco’s Golden Gate Park on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Independent venues struggle, too\u003c/h3>\n\u003cp>Cultural attitudes toward the virus vary widely from place to place, and even in cases where the artist and venue are in total agreement on enforcing COVID safety, the social and political climate of the surrounding area can create its own hurdles.\u003c/p>\n\u003cp>In April 2021, Florida Governor Ron DeSantis issued an \u003ca href=\"https://www.flgov.com/wp-content/uploads/2021/04/EO-21-81.pdf\">executive order\u003c/a> making it illegal for businesses in his state to ask for proof of vaccination. In response, Tom DeGeorge, owner of the 300-capacity Tampa club Crowbar, got together with venue owners from his state and Texas—where there are similar restrictions—and discovered a legal loophole that enables them to request negative PCR tests from customers. “We had to be very careful with the wording because if we screwed up, it was a $5,000 fine per infraction. So it was a risk in and of itself,” DeGeorge says. “But it did definitely help me get certain artists for shows that wanted a special requirement.” (Still, as cultural tides have turned, DeGeorge says he hasn’t had any artist ask him to check COVID tests since spring.)\u003c/p>\n\u003cp>In 2020, DeGeorge led a coalition called \u003ca href=\"https://www.cltampa.com/music/here-are-the-tampa-bay-music-venues-whove-joined-the-safe-sound-responsible-concert-coalition-12213333\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound\u003c/a>, where Tampa music venues banded together to enforce masking and social distancing at their businesses. From about October 2020 to February 2022, DeGeorge says, he and his staff dealt with extensive backlash. “My place was tagged up. I had my beer garden destroyed. One day I had a woman spit in my face at a concert,” DeGeorge says. “I would regularly come in to work and have voicemails on the phone telling me I was a Nazi and they were going to burn my club down. I mean, it was relentless.”\u003c/p>\n\u003cp>Steven Severin says he’s found the prevailing attitude to be more cautious in Seattle, where he owns the 650-capacity concert hall \u003ca href=\"https://www.neumos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Neumos\u003c/a>. Still, like the musicians they host, venues like his have to prepare for the unpredictable: “People keep pushing tours back or canceling them,” he says. “I can’t imagine being an artist and having to navigate this stuff.”\u003c/p>\n\u003cp>Although governments and private funders created some grants to help the live music industry at the beginning of the pandemic, most relief funding has dried up—even as professionals across the industry say it still needs institutional support.\u003c/p>\n\u003cp>DeGeorge and Severin are both members of the National Independent Venue Association, which lobbied for the Shuttered Venue Operators Grant (SVOG), through which eligible venues could apply for emergency assistance. Throughout 2021, the \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">SVOG rollout hit numerous delays\u003c/a>, and venue owners took on debt to keep their operations going or simply closed their doors. In June, a national coalition of mayors led by San Francisco’s London Breed and Chicago’s Lori Lightfoot \u003ca href=\"https://legacy.usmayors.org/resolutions/90th_Conference/proposed-review-list-full-print-committee-individual.asp?resid=a0F4N00000QhBotUAF\" target=\"_blank\" rel=\"noopener noreferrer\">called on Congress to support the arts and culture sector’s recovery\u003c/a>, recommending that the U.S. Small Business Administration expand the time allowed for venues to use SVOG funding to cover costs incurred through March 2023.\u003c/p>\n\u003cp>“It will be at least till the beginning of 2023 before we get back to some type of normal,” Severin says. “That’s what I was saying like three months ago. And now I’m starting to worry that that’s going to push out even further.”\u003c/p>\n\u003cfigure id=\"attachment_13919324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Primavera Sounds in Barcelona in June 2022. \u003ccite>(Sharon Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Musicians fend for themselves\u003c/h3>\n\u003cp>As much as venues have struggled, there’s no comparable federal relief funding for individual artists, who are the engines driving the live music economy. Many grants from state and local governments and foundations are no longer taking applications. “I think there’s more of this attitude of like, ‘You have to deal with it. You took on this risk,’ ” Tia Cabral says. “That’s disappointing.”\u003c/p>\n\u003cp>For now, artists and their teams are left to figure things out on their own.\u003c/p>\n\u003cp>Brijean Murphy is still pursuing her musical aspirations while also leaning into her second, more pandemic-friendly career as an illustrator and visual artist, a job she can do without stepping foot into a crowd. “I feel like I’m still just watching [the situation] unfold and seeing how people, bands, companies, venues are reacting to this wave that we’re in, this phase of what it is to be in entertainment today,” she says.\u003c/p>\n\u003cp>Being a live musician in 2022 “can be challenging, can be a grind, can be soul-crushing at times,” Murphy adds. But there are also moments of transcendence. “We played in San Diego, and it was this outdoor venue on the beach. It was sunset and it was sold out, and everyone was having the best time. So I feel like there are a lot of highs and lows still.” [aside postid='arts_13919062']\u003c/p>\n\u003cp>Despite the lows, musicians are finding ways to stay motivated and push forward. Spellling is embarking on a headlining U.S. tour in late September that will take Cabral and her band to 15 venues from North Carolina to Oregon. This time, she knows that the liberatory feeling of performing must be tempered with constant risk assessment and caution. But she plans to make the best of the situation by using what would have been social time for introspection and songwriting on the road.\u003c/p>\n\u003cp>“I just have to accept that there isn’t any cutting loose, and that’s OK,” she says. “And try to turn that into a creative meditation, instead of this other picture of tour that is about dancing with strangers, crashing in people’s houses and, you know, sharing drinks and making new friends.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year was a career-defining one for Tia Cabral, the experimental singer-songwriter known as \u003ca href=\"https://www.spelllingmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spellling\u003c/a>. With her 2021 album \u003cem>The Turning Wheel\u003c/em>, she evolved from bedroom artist to maximalist composer, enlisting over two dozen instrumentalists to execute her surreal vision. It caught on: The album got rave reviews, and by the end of the year, new fans from across the world had begun asking when they would see her in concert.\u003c/p>\n\u003cp>Cabral had hesitations about pandemic-era touring. The infection rates for COVID-19 had returned with a force after receding that summer, and she knew that indoor gatherings of strangers are the exact setting where risk of exposure to the virus multiplies. But she also sensed a moment of hard-won opportunity that would not last forever. “It was too hard to turn it down [because of] my eagerness to share the music that I spent so long writing,” the Oakland artist says. “I’m like, I just want to do it.” She booked a short European trip for May and June 2022 consisting of outdoor festival gigs, which she figured would be safer than playing clubs.\u003c/p>\n\u003cp>Things went well at first: Cabral and her band kept interactions outside their bubble to a minimum, wore masks as much as possible and agreed to test for COVID immediately if anyone felt unwell. But the mood changed in early June, when they arrived in Barcelona for the sprawling Primavera Sound festival. “It’s called Primavera in the City—it’s literally all over the city. There are so many people everywhere you go,” Cabral says. “So it became really hard to avoid, and stick to our regimen.” Finally, at a stop in Portugal, a bandmate tested positive. Cabral made the tough call to cancel her remaining shows, and paid for her collaborator’s quarantine in a hotel. “It just isn’t right to move forward into the unknown and into this risk for ourselves and other people,” she says.\u003c/p>\n\u003cp>Obstacles like the ones Cabral encountered are now features of life on the road. COVID rates in the U.S. stayed relatively high this spring and summer, and have only recently begun to dip (though the official stats don’t account for unreported home tests). But beyond the numbers, many musicians have found a set of complex and wearying tradeoffs await them on tour lately. The maze-like logistics of COVID safety are theirs to navigate, with little support from governments or their industry. Mask mandates and similar risk-reduction policies have evaporated. And audiences, perhaps starved for social connection and a sense of normalcy, have largely reverted to pre-pandemic behavior. For those operating below the very highest levels of success and infrastructure, the increased health and financial risks of mounting live music—and the burden of trying to avoid them—tend to fall hardest on the individual performers.\u003c/p>\n\u003cp>“We’re not health officials or experts,” says \u003ca href=\"https://www.panacherock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Panache Booking\u003c/a>‘s Michelle Cable, who manages Spellling, Ty Segall, Mac DeMarco and others, and books tours for artists such as Bikini Kill and Ezra Furman. “It’s added a whole other extra layer of complication and stress to touring, which is already stressful without what’s happened in the last two to three years.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>A domino effect of financial losses\u003c/h3>\n\u003cp>Brijean Murphy is one half of the Los Angeles disco-house duo Brijean and a touring percussionist with the bands Poolside and Toro y Moi. Prior to the pandemic, Murphy toured six months out of the year, and was well-acquainted with the job’s common headaches: the busy travel schedules, cramped conditions and missed sleep, often without a huge financial payoff at the end. But lately, she says even the more mundane parts of road life—like flying on planes, where masks are no longer required—now come with “financial, personal and spiritual repercussions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, the bands Murphy works with have avoided going on long runs like they used to; she’s played a few Brijean shows and some one-offs with Poolside. Despite masking and regular testing, she came down with COVID-19 in May after a string of European concerts, and had to quarantine on the East Coast. As if it weren’t enough to be sick, alone and burning money while stranded far from home, healing time from COVID can be unpredictable—the CDC estimates that nearly one in five U.S. adults experiences \u003ca href=\"https://www.cdc.gov/nchs/pressroom/nchs_press_releases/2022/20220622.htm\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms lasting more than three months\u003c/a>—which can delay a musician’s return to the stage well after they’ve ceased to be contagious.\u003c/p>\n\u003cp>“There are just so many moving parts,” Brijean says, describing her stress. “And I think on top of everybody being worked so hard, your dollar doesn’t go as far as it used to.”\u003c/p>\n\u003cp>Indeed, inflation hit a 40-year high in June and has come down only slightly, adding more financial pressure as musicians attempt to bounce back from two years without performance income. And as the BA.5 variant spread, show cancellations due to COVID were commonplace throughout the summer. Bikini Kill called off nearly two dozen shows when several members got sick. Blondie, touring in support of a career-spanning box set, canceled or postponed dates in Boston, New York and Connecticut. Rakim canceled his European tour, which was supposed to take place in August.\u003c/p>\n\u003cp>“After a month in which we have had several COVID cases in our crew and even more close contacts requiring quarantine, it is our sad consensus that extensive foreign travel (in my case by cruise ship) is neither safe nor logistically possible,” the \u003ca href=\"https://rockthebells.com/articles/rakim-cancels-his-2022-european-tour-amid-covid-concerns/\" target=\"_blank\" rel=\"noopener noreferrer\">rap veteran wrote\u003c/a> in a statement.\u003c/p>\n\u003cp>So what happens when shows are canceled due to COVID? If they aren’t able to reschedule lost dates, artists are obligated to refund tickets and, if applicable, give venues back their deposits. Cable says musicians who travel with a crew typically have agreements for how to compensate them in the event of cancellations; these vary, but a typical one might require paying everyone half their wages. Travel may need to be rebooked, and quarantine hotels secured. Any money already spent on promotion is likely non-refundable. Additionally, if a show doesn’t happen, a booking agent like Cable doesn’t collect her commission after putting in as much as three years of work to make a concert happen. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If only to avoid these headaches, many artists take extra pains to keep themselves safe from COVID on the road as much as possible—although Cable says that even among musicians, that vigilance has waned. When we spoke in June, she shared that it was common for artists to request that venues require proof of vaccination or a negative PCR test at the door, whether or not the local government had a mandate in place. As the summer progressed, she says, fewer clubs made this a regular practice, and performers began to follow suit. Some of her artists still ask for signage requesting that showgoers wear masks, and may even provide face coverings for audiences—but she says few patrons actually wear them, and those who do often shed them while eating, drinking, dancing or moshing.\u003c/p>\n\u003cp>Artists with bigger budgets may hire COVID compliance officers to ensure that health measures are observed, or travel separately from the rest of the touring party to further minimize exposure. These added precautions, of course, all come at a price.\u003c/p>\n\u003cp>“COVID tests are expensive, masks are expensive, extra hotel rooms are expensive,” Cable says. “When you’re checking at the door, it’s an extra expense of having extra people hired. … That comes out of the show settlement, meaning it ultimately comes out of the band’s payments.”\u003c/p>\n\u003cp>And there’s another, less obvious cost to these arrangements: Musicians who close off backstage areas and stay away from the merch table miss out on potential networking and connections that could lead to future work. “A big part of being a freelancer and being in this field, like many fields probably, is that you can meet up with people, have social interactions, connect with people and then follow that connection,” Murphy says, “[whether] it’s working on an album together later or getting hired to go on their tour or collaborate on a different session.”\u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performs at Outside Lands in San Francisco’s Golden Gate Park on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Independent venues struggle, too\u003c/h3>\n\u003cp>Cultural attitudes toward the virus vary widely from place to place, and even in cases where the artist and venue are in total agreement on enforcing COVID safety, the social and political climate of the surrounding area can create its own hurdles.\u003c/p>\n\u003cp>In April 2021, Florida Governor Ron DeSantis issued an \u003ca href=\"https://www.flgov.com/wp-content/uploads/2021/04/EO-21-81.pdf\">executive order\u003c/a> making it illegal for businesses in his state to ask for proof of vaccination. In response, Tom DeGeorge, owner of the 300-capacity Tampa club Crowbar, got together with venue owners from his state and Texas—where there are similar restrictions—and discovered a legal loophole that enables them to request negative PCR tests from customers. “We had to be very careful with the wording because if we screwed up, it was a $5,000 fine per infraction. So it was a risk in and of itself,” DeGeorge says. “But it did definitely help me get certain artists for shows that wanted a special requirement.” (Still, as cultural tides have turned, DeGeorge says he hasn’t had any artist ask him to check COVID tests since spring.)\u003c/p>\n\u003cp>In 2020, DeGeorge led a coalition called \u003ca href=\"https://www.cltampa.com/music/here-are-the-tampa-bay-music-venues-whove-joined-the-safe-sound-responsible-concert-coalition-12213333\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound\u003c/a>, where Tampa music venues banded together to enforce masking and social distancing at their businesses. From about October 2020 to February 2022, DeGeorge says, he and his staff dealt with extensive backlash. “My place was tagged up. I had my beer garden destroyed. One day I had a woman spit in my face at a concert,” DeGeorge says. “I would regularly come in to work and have voicemails on the phone telling me I was a Nazi and they were going to burn my club down. I mean, it was relentless.”\u003c/p>\n\u003cp>Steven Severin says he’s found the prevailing attitude to be more cautious in Seattle, where he owns the 650-capacity concert hall \u003ca href=\"https://www.neumos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Neumos\u003c/a>. Still, like the musicians they host, venues like his have to prepare for the unpredictable: “People keep pushing tours back or canceling them,” he says. “I can’t imagine being an artist and having to navigate this stuff.”\u003c/p>\n\u003cp>Although governments and private funders created some grants to help the live music industry at the beginning of the pandemic, most relief funding has dried up—even as professionals across the industry say it still needs institutional support.\u003c/p>\n\u003cp>DeGeorge and Severin are both members of the National Independent Venue Association, which lobbied for the Shuttered Venue Operators Grant (SVOG), through which eligible venues could apply for emergency assistance. Throughout 2021, the \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">SVOG rollout hit numerous delays\u003c/a>, and venue owners took on debt to keep their operations going or simply closed their doors. In June, a national coalition of mayors led by San Francisco’s London Breed and Chicago’s Lori Lightfoot \u003ca href=\"https://legacy.usmayors.org/resolutions/90th_Conference/proposed-review-list-full-print-committee-individual.asp?resid=a0F4N00000QhBotUAF\" target=\"_blank\" rel=\"noopener noreferrer\">called on Congress to support the arts and culture sector’s recovery\u003c/a>, recommending that the U.S. Small Business Administration expand the time allowed for venues to use SVOG funding to cover costs incurred through March 2023.\u003c/p>\n\u003cp>“It will be at least till the beginning of 2023 before we get back to some type of normal,” Severin says. “That’s what I was saying like three months ago. And now I’m starting to worry that that’s going to push out even further.”\u003c/p>\n\u003cfigure id=\"attachment_13919324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Primavera Sounds in Barcelona in June 2022. \u003ccite>(Sharon Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Musicians fend for themselves\u003c/h3>\n\u003cp>As much as venues have struggled, there’s no comparable federal relief funding for individual artists, who are the engines driving the live music economy. Many grants from state and local governments and foundations are no longer taking applications. “I think there’s more of this attitude of like, ‘You have to deal with it. You took on this risk,’ ” Tia Cabral says. “That’s disappointing.”\u003c/p>\n\u003cp>For now, artists and their teams are left to figure things out on their own.\u003c/p>\n\u003cp>Brijean Murphy is still pursuing her musical aspirations while also leaning into her second, more pandemic-friendly career as an illustrator and visual artist, a job she can do without stepping foot into a crowd. “I feel like I’m still just watching [the situation] unfold and seeing how people, bands, companies, venues are reacting to this wave that we’re in, this phase of what it is to be in entertainment today,” she says.\u003c/p>\n\u003cp>Being a live musician in 2022 “can be challenging, can be a grind, can be soul-crushing at times,” Murphy adds. But there are also moments of transcendence. “We played in San Diego, and it was this outdoor venue on the beach. It was sunset and it was sold out, and everyone was having the best time. So I feel like there are a lot of highs and lows still.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the lows, musicians are finding ways to stay motivated and push forward. Spellling is embarking on a headlining U.S. tour in late September that will take Cabral and her band to 15 venues from North Carolina to Oregon. This time, she knows that the liberatory feeling of performing must be tempered with constant risk assessment and caution. But she plans to make the best of the situation by using what would have been social time for introspection and songwriting on the road.\u003c/p>\n\u003cp>“I just have to accept that there isn’t any cutting loose, and that’s OK,” she says. “And try to turn that into a creative meditation, instead of this other picture of tour that is about dancing with strangers, crashing in people’s houses and, you know, sharing drinks and making new friends.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "East Bay Artists Can Still Get Pandemic Relief Funding With This Grant",
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"content": "\u003cp>It’s not easy being an artist in 2022. There’s the stalled momentum after two years of COVID restrictions, the ongoing risk of sickness—not to mention inflation and the ever-rising cost of living in the Bay Area. The fallout from the pandemic is real, but the vast majority of grants from 2020 are no longer taking applications, and artists are left to figure things out on their own.\u003c/p>\n\u003cp>Fortunately for those living in Alameda and Contra Costa counties, the \u003ca href=\"https://www.cciarts.org/EastBayReliefFund.html\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Relief Fund for Individuals in the Arts\u003c/a> is accepting applications for financial aid until noon on Sept. 28. The fund has $481,496 it plans to distribute to artists and cultural workers (that includes teaching artists, culture bearers, nonprofit employees and arts administrators).\u003c/p>\n\u003cp>People experiencing immediate hardship, especially those from historically marginalized communities, will be prioritized for grants of up to $2,000 to cover their expenses. The grant is open to artists at any stage of their careers and of all disciplines. [aside postid='arts_13915178']\u003c/p>\n\u003cp>Applicants will be notified of their acceptance on Oct. 5; after that, those approved can use the money in any way they see fit to improve their financial situations. The Kenneth Rainin Foundation leads the funding for this grant, with support from the Hellman Foundation, Phyllis C. Wattis Foundation, Gerbode Foundation, East Bay Community Foundation and Walter & Elise Haas Fund. The Center for Cultural Innovation (CCI) will administer the grants. The \u003ca href=\"https://www.cciarts.org/EastBayReliefFund.html\" target=\"_blank\" rel=\"noopener noreferrer\">application and more information can be found on CCI’s website\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not easy being an artist in 2022. There’s the stalled momentum after two years of COVID restrictions, the ongoing risk of sickness—not to mention inflation and the ever-rising cost of living in the Bay Area. The fallout from the pandemic is real, but the vast majority of grants from 2020 are no longer taking applications, and artists are left to figure things out on their own.\u003c/p>\n\u003cp>Fortunately for those living in Alameda and Contra Costa counties, the \u003ca href=\"https://www.cciarts.org/EastBayReliefFund.html\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Relief Fund for Individuals in the Arts\u003c/a> is accepting applications for financial aid until noon on Sept. 28. The fund has $481,496 it plans to distribute to artists and cultural workers (that includes teaching artists, culture bearers, nonprofit employees and arts administrators).\u003c/p>\n\u003cp>People experiencing immediate hardship, especially those from historically marginalized communities, will be prioritized for grants of up to $2,000 to cover their expenses. The grant is open to artists at any stage of their careers and of all disciplines. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Applicants will be notified of their acceptance on Oct. 5; after that, those approved can use the money in any way they see fit to improve their financial situations. The Kenneth Rainin Foundation leads the funding for this grant, with support from the Hellman Foundation, Phyllis C. Wattis Foundation, Gerbode Foundation, East Bay Community Foundation and Walter & Elise Haas Fund. The Center for Cultural Innovation (CCI) will administer the grants. The \u003ca href=\"https://www.cciarts.org/EastBayReliefFund.html\" target=\"_blank\" rel=\"noopener noreferrer\">application and more information can be found on CCI’s website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In the Imaginists' 'Someone Dies Again,' the Pain of Gun Violence is Ever-Present",
"headTitle": "In the Imaginists’ ‘Someone Dies Again,’ the Pain of Gun Violence is Ever-Present | KQED",
"content": "\u003cp>It was 2019 when I \u003ca href=\"https://www.theatrebayarea.org/news/435111/Keep-An-Eye-On-The-Imaginists-Find-Success-in-Embracing-the-Unknown.htm\">first covered the Imaginists’ artistic collaboration with Hungarian director Árpád Schilling\u003c/a>—a then-unwritten work examining American gun violence. \u003c/p>\n\u003cp>A lot has changed since that different, pre-COVID time. Yet as I write this review, \u003ca href=\"https://www.kqed.org/forum/2010101889325/country-grieves-for-victims-and-survivors-of-uvalde-texas-school-massacre\">in the wake of yet another mass shooting of schoolchildren\u003c/a>, the topic is as painfully timely as when the Imaginists first conceived the production. The theater company first invited Schilling to Santa Rosa in 2015, whereupon the internationally acclaimed director learned about the \u003ca href=\"https://www.kqed.org/news/116116/sonomy-county-sheriff-who-shot-andy-lopez-identified\">fatal shooting of 13-year-old Andy Lopez by a Sheriff’s deputy\u003c/a>—a devastating moment for Santa Rosa, where the Imaginists have created theater for 20 years.\u003c/p>\n\u003cfigure id=\"attachment_13914180\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg\" alt=\"To women sit on a couch facing each other, a man watches them from a table set on the other side of the stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gena (Amy Pinto, left) and Maddy (Emma Atwood) struggle to understand each other’s points of view in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Schilling and [his partner] Lilla Sárosdi were absolutely horrified that the police would actually use their guns against citizens,” Imaginists co-founder Amy Pinto told me in 2019. Known for co-creating generative work with a social justice component, Schilling understood that, as a European, his “outsider” approach to this quintessentially American topic would be artistically fertile and potentially revelatory.\u003c/p>\n\u003cp>The resultant production is \u003cem>Someone Dies Again\u003c/em>, which, after nearly two years of pandemic-related delays, premiered May 20 at Z Space in San Francisco, and opens a Santa Rosa run on Thursday, June 2.\u003c/p>\n\u003cp>\u003cem>Someone Dies Again\u003c/em> simmers with the effects of one real-life catastrophe after another—but after setbacks, public health crises and heartbreaks, it emerges from the wreckage filled with purpose. The production examines our fraught relationship to guns and gun ownership, along with structures of white supremacy and American exceptionalism. Infused with uncomfortable rawness, and juxtaposed against skillfully choreographed theatricality, \u003cem>Someone Dies Again\u003c/em> not only invites its audience in but bars the door behind them, underscoring societal complicity with what plays out onstage.\u003c/p>\n\u003cfigure id=\"attachment_13914178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg\" alt=\"A man sits in a cluttered room with duct tape over his mouth\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Imaginists’ ‘Someone Dies Again,’ Larry (David Roby) sits in his room, with his mouth taped shut, after an encounter with his brother. \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gun is brought into immediate play during the first scene, when family patriarch Marty (G. Brent Lindsay) discovers it in his brother Larry’s (David Roby) possession. Larry’s been staying in the spare room ever since his trailer burned down in an electrical fire, keeping the handgun under his pillow as a good luck charm and sleeping aid. Its presence initiates an undercurrent of unease that permeates the rest of the piece. The implied threat of violence hangs over even such quotidian activities as a family birthday celebration and a trip to the grocery store.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This, Schilling seems to imply, is what it feels like every day in America. We go about our daily routines while somehow compartmentalizing the danger that casual access to guns poses to even the sleepiest of communities. The production leans heavily into these quiet moments, drawing them out like rubber bands that feel like they’ll snap but often don’t. Bodies curl into themselves, not in repose, but in tense stasis. Conversations circle around pain and grief without naming them out loud.\u003c/p>\n\u003cp>[aside postID='arts_10834881']The emotion that does reveal itself, early and often, is anger. Marty and Larry are angry at their deceased, vindictive father, who appears in Marty’s photography studio as a corporeal vision full of ham-fisted vitriol. Marty’s college-going daughter Maddie (Emma Attwood) is angry at his insistence on reopening old wounds, which are not his alone to bear. Marty’s wife Gena (Amy Pinto) seems hardly able to emote at all, but she, too, carries a reserve of rage that seeps out of her like toxic waste. As they roil in their discomfort, all of their palpable grief and rage obfuscates the charged reality of what’s gradually revealed: their son and brother Miles, who died six years ago, may have not been a victim at all, but an instigator.\u003c/p>\n\u003cp>This struggle between this family’s need to “know the truth” clashes with their need to be “right.” It’s a struggle that frequently manifests itself bodily. In one scene, Marty clambers onto a table and stretches outward, reaching for a memory of his son as superimposed on the body of a stranger. In another, the querulous apparition of his dead father (John Craven) crawls under the table and begins bucking it up and down like a petulant poltergeist. A lawyer (John Most) with his own agenda stands on a chair, asserting a quiet dominance. The neighborhood grocer (Yareny Fuentes) shuts down all but the most cursory of small talk, keeping her face pointedly averted, shielding herself from her customers’ desperate need for validation.\u003c/p>\n\u003cfigure id=\"attachment_13914179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg\" alt=\"Two men, one shorter, white, with long hair, pushes the chest of the taller Black man\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty (G. Brent Lindsay, left) pushes Ken (Stephen K. Patterson) away in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the piece fumbles is in its 11th hour attempt to shoehorn cautionary commentary about social media and reality television into the already sprawling work. While it certainly fits into the characters’ positioning of themselves in the center of a narrative of which they are not the heroes, the turn feels underdeveloped—more distraction than direction. As Marty spirals out of control in a seething microcosm of what Maddy’s professor (Tessa Rissacher) might call “white supremacist delusion,” the fact that he can’t help simultaneously gloating over “likes” feels a little too on the nose.\u003c/p>\n\u003cp>The piece succeeds best by revealing the dichotomy of the “good guy with a gun/bad guy with a gun” as the banal mythology it is, leaving unanswered the inevitable question: where do we go from here?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cem>‘Someone Dies Again’ runs June 2–11 at the Imaginists Theater, 461 Sebastopol Ave., Santa Rosa. \u003ca href=\"http://theimaginists.org\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The collaboration with Hungarian director Árpád Schilling is, sadly, more timely than ever.",
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"title": "In the Imaginists' 'Someone Dies Again,' the Pain of Gun Violence is Ever-Present | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was 2019 when I \u003ca href=\"https://www.theatrebayarea.org/news/435111/Keep-An-Eye-On-The-Imaginists-Find-Success-in-Embracing-the-Unknown.htm\">first covered the Imaginists’ artistic collaboration with Hungarian director Árpád Schilling\u003c/a>—a then-unwritten work examining American gun violence. \u003c/p>\n\u003cp>A lot has changed since that different, pre-COVID time. Yet as I write this review, \u003ca href=\"https://www.kqed.org/forum/2010101889325/country-grieves-for-victims-and-survivors-of-uvalde-texas-school-massacre\">in the wake of yet another mass shooting of schoolchildren\u003c/a>, the topic is as painfully timely as when the Imaginists first conceived the production. The theater company first invited Schilling to Santa Rosa in 2015, whereupon the internationally acclaimed director learned about the \u003ca href=\"https://www.kqed.org/news/116116/sonomy-county-sheriff-who-shot-andy-lopez-identified\">fatal shooting of 13-year-old Andy Lopez by a Sheriff’s deputy\u003c/a>—a devastating moment for Santa Rosa, where the Imaginists have created theater for 20 years.\u003c/p>\n\u003cfigure id=\"attachment_13914180\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg\" alt=\"To women sit on a couch facing each other, a man watches them from a table set on the other side of the stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gena (Amy Pinto, left) and Maddy (Emma Atwood) struggle to understand each other’s points of view in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Schilling and [his partner] Lilla Sárosdi were absolutely horrified that the police would actually use their guns against citizens,” Imaginists co-founder Amy Pinto told me in 2019. Known for co-creating generative work with a social justice component, Schilling understood that, as a European, his “outsider” approach to this quintessentially American topic would be artistically fertile and potentially revelatory.\u003c/p>\n\u003cp>The resultant production is \u003cem>Someone Dies Again\u003c/em>, which, after nearly two years of pandemic-related delays, premiered May 20 at Z Space in San Francisco, and opens a Santa Rosa run on Thursday, June 2.\u003c/p>\n\u003cp>\u003cem>Someone Dies Again\u003c/em> simmers with the effects of one real-life catastrophe after another—but after setbacks, public health crises and heartbreaks, it emerges from the wreckage filled with purpose. The production examines our fraught relationship to guns and gun ownership, along with structures of white supremacy and American exceptionalism. Infused with uncomfortable rawness, and juxtaposed against skillfully choreographed theatricality, \u003cem>Someone Dies Again\u003c/em> not only invites its audience in but bars the door behind them, underscoring societal complicity with what plays out onstage.\u003c/p>\n\u003cfigure id=\"attachment_13914178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg\" alt=\"A man sits in a cluttered room with duct tape over his mouth\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Imaginists’ ‘Someone Dies Again,’ Larry (David Roby) sits in his room, with his mouth taped shut, after an encounter with his brother. \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gun is brought into immediate play during the first scene, when family patriarch Marty (G. Brent Lindsay) discovers it in his brother Larry’s (David Roby) possession. Larry’s been staying in the spare room ever since his trailer burned down in an electrical fire, keeping the handgun under his pillow as a good luck charm and sleeping aid. Its presence initiates an undercurrent of unease that permeates the rest of the piece. The implied threat of violence hangs over even such quotidian activities as a family birthday celebration and a trip to the grocery store.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This, Schilling seems to imply, is what it feels like every day in America. We go about our daily routines while somehow compartmentalizing the danger that casual access to guns poses to even the sleepiest of communities. The production leans heavily into these quiet moments, drawing them out like rubber bands that feel like they’ll snap but often don’t. Bodies curl into themselves, not in repose, but in tense stasis. Conversations circle around pain and grief without naming them out loud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The emotion that does reveal itself, early and often, is anger. Marty and Larry are angry at their deceased, vindictive father, who appears in Marty’s photography studio as a corporeal vision full of ham-fisted vitriol. Marty’s college-going daughter Maddie (Emma Attwood) is angry at his insistence on reopening old wounds, which are not his alone to bear. Marty’s wife Gena (Amy Pinto) seems hardly able to emote at all, but she, too, carries a reserve of rage that seeps out of her like toxic waste. As they roil in their discomfort, all of their palpable grief and rage obfuscates the charged reality of what’s gradually revealed: their son and brother Miles, who died six years ago, may have not been a victim at all, but an instigator.\u003c/p>\n\u003cp>This struggle between this family’s need to “know the truth” clashes with their need to be “right.” It’s a struggle that frequently manifests itself bodily. In one scene, Marty clambers onto a table and stretches outward, reaching for a memory of his son as superimposed on the body of a stranger. In another, the querulous apparition of his dead father (John Craven) crawls under the table and begins bucking it up and down like a petulant poltergeist. A lawyer (John Most) with his own agenda stands on a chair, asserting a quiet dominance. The neighborhood grocer (Yareny Fuentes) shuts down all but the most cursory of small talk, keeping her face pointedly averted, shielding herself from her customers’ desperate need for validation.\u003c/p>\n\u003cfigure id=\"attachment_13914179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg\" alt=\"Two men, one shorter, white, with long hair, pushes the chest of the taller Black man\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty (G. Brent Lindsay, left) pushes Ken (Stephen K. Patterson) away in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the piece fumbles is in its 11th hour attempt to shoehorn cautionary commentary about social media and reality television into the already sprawling work. While it certainly fits into the characters’ positioning of themselves in the center of a narrative of which they are not the heroes, the turn feels underdeveloped—more distraction than direction. As Marty spirals out of control in a seething microcosm of what Maddy’s professor (Tessa Rissacher) might call “white supremacist delusion,” the fact that he can’t help simultaneously gloating over “likes” feels a little too on the nose.\u003c/p>\n\u003cp>The piece succeeds best by revealing the dichotomy of the “good guy with a gun/bad guy with a gun” as the banal mythology it is, leaving unanswered the inevitable question: where do we go from here?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cem>‘Someone Dies Again’ runs June 2–11 at the Imaginists Theater, 461 Sebastopol Ave., Santa Rosa. \u003ca href=\"http://theimaginists.org\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV?",
"headTitle": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV? | KQED",
"content": "\u003cp>Before being slapped at the Oscars, Chris Rock joked about the unmasked celebrity crowd “just breathing raw dog tonight.” The lead-up to the ceremony was marked by \u003ca href=\"https://www.vulture.com/2022/02/academy-announces-2022-oscars-covid-19-vaccination-policy.html\" target=\"_blank\" rel=\"noopener noreferrer\">dodgy COVID policies\u003c/a>.\u003c/p>\n\u003cp>So perhaps it should come as no surprise that there was nary a pandemic mention in the nominated works. Two years in, and the film industry is still ignoring the coronavirus.\u003c/p>\n\u003cp>TV is no better. Early on, a few shows made half-hearted attempts to incorporate the once-in-a-generation pandemic into their storylines: \u003cem>The Resident, 9-1-1\u003c/em> and \u003cem>Brooklyn Nine-Nine\u003c/em> all paid COVID lip service before all the masks disappeared. \u003cem>It’s Always Sunny in Philadelphia\u003c/em> gave it two episodes, while \u003cem>And Just Like That…\u003c/em>’s infamous first episode alluded to the pandemic in the past tense.\u003c/p>\n\u003cfigure id=\"attachment_13912585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg\" alt=\"a crowded party scene with people cheering and raising their arms\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘And Just Like That…’ with no masks in sight. \u003ccite>(Craig Blankenhorn / HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One could blame the long production schedule of film and television. Although lockdowns still produced new music (two Taylor Swift albums, a \u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\" target=\"_blank\" rel=\"noopener noreferrer\">social distancing anthem\u003c/a> from E-40 and a pro-vaxx redux of Juvenile’s “Back that Azz Up”), visual media requires more active participants and long-term planning. Sure, there are exceptions, but one doesn’t expect a long production like \u003cem>Bob’s Burgers\u003c/em> to be as up-to-date as an episode of \u003cem>South Park\u003c/em> (made in seven days).\u003c/p>\n\u003cp>[aside postid='arts_13908472']Still, that excuse only goes so far—all pop culture becomes dated. Hell, an episode’s soundtrack becomes a playlist the next day. I’d argue that ignoring a major contemporary event is hypocritical when trying to stay current. COVID-19’s been around for two years. I think that puts it in the category of HIV/AIDS or 9/11, in that it’s not ending soon and worth discussing for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a San Francisco native, I don’t bring up AIDS lightly. I remember when it either wasn’t mentioned at all or was used like cancer to show a character’s tragic end (\u003cem>Philadelphia, Boys on the Side\u003c/em>). Yet, four decades later, we’ve seen narratives justifying AIDS as punishment for an “immoral” character (Tyler Perry’s 2013 \u003cem>Temptation\u003c/em>). Entertainment we consciously seek out lingers in the consciousness and normalizes the behaviors of its characters. It’s why we say “representation matters.”\u003c/p>\n\u003cp>That’s why the absence of COVID-related content is unsettling, given the strides marginalized creators have made in entertainment. For us, \u003ca href=\"https://blackcoalitionagainstcovid.org/wp-content/uploads/2022/03/2022-Report-State-of-Black-America-and-COVID-19-A-Two-Year-Assessment-3292022.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">COVID infection rates are as high\u003c/a> as access to COVID resources is low. We need our voices heard and our struggle portrayed. Instead, those marginalized creators are ignoring that very struggle.\u003c/p>\n\u003cfigure id=\"attachment_13912586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg\" alt=\"a group of people cheer at a birthday party\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A birthday party scene from Season 5 of ‘Insecure.’ \u003ccite>(Raymond Liu/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pamela Adlon insisted the production of her show \u003cem>better things\u003c/em> \u003ca href=\"https://www.indiewire.com/2019/04/better-things-pamela-adlon-tv-show-interview-season-3-1202059849/\" target=\"_blank\" rel=\"noopener noreferrer\">be as eco-friendly\u003c/a> as it is safe for women (including banning co-creator Louis CK), but the show hasn’t mentioned COVID in its still-running final season. Issa Rae revels in the acclaim she garnered for \u003cem>Insecure\u003c/em>, but its 2021 final season—shot partly here in the Bay—refused to address either the pandemic or the George Floyd protests. Even \u003cem>Euphoria\u003c/em>, lauded for its portrayal of contemporary teens, shot two feature-length specials and an entire season during lockdown without a single virus mention on camera. (Meanwhile, one cast member’s notable absence may be \u003ca href=\"https://www.thedailybeast.com/why-euphoria-star-algee-smith-is-missing-this-season\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-related\u003c/a>.)\u003c/p>\n\u003cp>How well can these works truly represent the characters they portray if they ignore what their audiences have now struggled with for two years? Like \u003cem>Euphoria\u003c/em>, the CBS sitcom \u003cem>Mom\u003c/em> was lauded for mixing entertainment with its honest portrayals of addiction. And like \u003cem>Euphoria\u003c/em>, \u003cem>Mom\u003c/em>’s final, lockdown-shot season ignored the pandemic, despite substance abuse emerging as a dangerous COVID-era \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/stress-coping/alcohol-use.html\" target=\"_blank\" rel=\"noopener noreferrer\">coping mechanism\u003c/a>. [aside postid='arts_13909218']\u003c/p>\n\u003cp>Claiming “escapism” is a cop-out of toxic positivity. It assumes someone lacks the mental wherewithal to address serious topics. What’s more, most works ignoring the pandemic contradict what we already know of their characters. Most vampires on \u003cem>What We Do in the Shadows\u003c/em> are multi-century-old Europeans, meaning they’ve been through multiple plagues. Hell, a common trope in vampire fiction—from Bram Stoker and Richard Matheson to San Francisco’s own Anne Rice and Christopher Moore—is for the vamps to hide in plain sight by letting the public believe their victims died of some illness. That makes it perfect for \u003cem>Shadows’\u003c/em> morbid humor, but somehow this plague has passed them by.\u003c/p>\n\u003cfigure id=\"attachment_13912587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg\" alt=\"a woman with blue hair wears a face mask as she passes by protestors\" width=\"800\" height=\"387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-1020x493.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-768x371.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Kravitz in a still from ‘KIMI,’ during a scene where her character wears a mask while encountering protesters in Seattle.\u003c/figcaption>\u003c/figure>\n\u003cp>I haven’t seen Steven Soderbergh’s \u003cem>KIMI\u003c/em>, which I’m told is one of the few recent films to truly acknowledge the pandemic. But I’ve seen both great seasons of HBO’s \u003cem>Betty\u003c/em>, the latter of which features its teen leads living in a post-George Floyd world of COVID and Karens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wish those weren’t outliers in mainstream pop culture. I haven’t been to the movies in two years, but I hope films and series lean more heavily into COVID-related material. After all, if I wanted to watch shows where everyone ignores the virus, I’d just watch the news.\u003c/p>\n\n",
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"excerpt": "Entertainment can influence behavior or help us process struggle. What does it mean that so few films and TV shows have acknowledged COVID-19?",
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"title": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV? | KQED",
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"headline": "‘Escapism Is a Cop-Out’: Two Years Into a Pandemic, Why Isn’t COVID on TV?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before being slapped at the Oscars, Chris Rock joked about the unmasked celebrity crowd “just breathing raw dog tonight.” The lead-up to the ceremony was marked by \u003ca href=\"https://www.vulture.com/2022/02/academy-announces-2022-oscars-covid-19-vaccination-policy.html\" target=\"_blank\" rel=\"noopener noreferrer\">dodgy COVID policies\u003c/a>.\u003c/p>\n\u003cp>So perhaps it should come as no surprise that there was nary a pandemic mention in the nominated works. Two years in, and the film industry is still ignoring the coronavirus.\u003c/p>\n\u003cp>TV is no better. Early on, a few shows made half-hearted attempts to incorporate the once-in-a-generation pandemic into their storylines: \u003cem>The Resident, 9-1-1\u003c/em> and \u003cem>Brooklyn Nine-Nine\u003c/em> all paid COVID lip service before all the masks disappeared. \u003cem>It’s Always Sunny in Philadelphia\u003c/em> gave it two episodes, while \u003cem>And Just Like That…\u003c/em>’s infamous first episode alluded to the pandemic in the past tense.\u003c/p>\n\u003cfigure id=\"attachment_13912585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg\" alt=\"a crowded party scene with people cheering and raising their arms\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/cynthia-nixon-sarah-jessica-parker-kristin-davis_0.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘And Just Like That…’ with no masks in sight. \u003ccite>(Craig Blankenhorn / HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One could blame the long production schedule of film and television. Although lockdowns still produced new music (two Taylor Swift albums, a \u003ca href=\"https://www.youtube.com/watch?v=OT20KfhnQow\" target=\"_blank\" rel=\"noopener noreferrer\">social distancing anthem\u003c/a> from E-40 and a pro-vaxx redux of Juvenile’s “Back that Azz Up”), visual media requires more active participants and long-term planning. Sure, there are exceptions, but one doesn’t expect a long production like \u003cem>Bob’s Burgers\u003c/em> to be as up-to-date as an episode of \u003cem>South Park\u003c/em> (made in seven days).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, that excuse only goes so far—all pop culture becomes dated. Hell, an episode’s soundtrack becomes a playlist the next day. I’d argue that ignoring a major contemporary event is hypocritical when trying to stay current. COVID-19’s been around for two years. I think that puts it in the category of HIV/AIDS or 9/11, in that it’s not ending soon and worth discussing for a long time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a San Francisco native, I don’t bring up AIDS lightly. I remember when it either wasn’t mentioned at all or was used like cancer to show a character’s tragic end (\u003cem>Philadelphia, Boys on the Side\u003c/em>). Yet, four decades later, we’ve seen narratives justifying AIDS as punishment for an “immoral” character (Tyler Perry’s 2013 \u003cem>Temptation\u003c/em>). Entertainment we consciously seek out lingers in the consciousness and normalizes the behaviors of its characters. It’s why we say “representation matters.”\u003c/p>\n\u003cp>That’s why the absence of COVID-related content is unsettling, given the strides marginalized creators have made in entertainment. For us, \u003ca href=\"https://blackcoalitionagainstcovid.org/wp-content/uploads/2022/03/2022-Report-State-of-Black-America-and-COVID-19-A-Two-Year-Assessment-3292022.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">COVID infection rates are as high\u003c/a> as access to COVID resources is low. We need our voices heard and our struggle portrayed. Instead, those marginalized creators are ignoring that very struggle.\u003c/p>\n\u003cfigure id=\"attachment_13912586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg\" alt=\"a group of people cheer at a birthday party\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ins-ep510-06082021-rl-0112-r.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A birthday party scene from Season 5 of ‘Insecure.’ \u003ccite>(Raymond Liu/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pamela Adlon insisted the production of her show \u003cem>better things\u003c/em> \u003ca href=\"https://www.indiewire.com/2019/04/better-things-pamela-adlon-tv-show-interview-season-3-1202059849/\" target=\"_blank\" rel=\"noopener noreferrer\">be as eco-friendly\u003c/a> as it is safe for women (including banning co-creator Louis CK), but the show hasn’t mentioned COVID in its still-running final season. Issa Rae revels in the acclaim she garnered for \u003cem>Insecure\u003c/em>, but its 2021 final season—shot partly here in the Bay—refused to address either the pandemic or the George Floyd protests. Even \u003cem>Euphoria\u003c/em>, lauded for its portrayal of contemporary teens, shot two feature-length specials and an entire season during lockdown without a single virus mention on camera. (Meanwhile, one cast member’s notable absence may be \u003ca href=\"https://www.thedailybeast.com/why-euphoria-star-algee-smith-is-missing-this-season\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-related\u003c/a>.)\u003c/p>\n\u003cp>How well can these works truly represent the characters they portray if they ignore what their audiences have now struggled with for two years? Like \u003cem>Euphoria\u003c/em>, the CBS sitcom \u003cem>Mom\u003c/em> was lauded for mixing entertainment with its honest portrayals of addiction. And like \u003cem>Euphoria\u003c/em>, \u003cem>Mom\u003c/em>’s final, lockdown-shot season ignored the pandemic, despite substance abuse emerging as a dangerous COVID-era \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/stress-coping/alcohol-use.html\" target=\"_blank\" rel=\"noopener noreferrer\">coping mechanism\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Claiming “escapism” is a cop-out of toxic positivity. It assumes someone lacks the mental wherewithal to address serious topics. What’s more, most works ignoring the pandemic contradict what we already know of their characters. Most vampires on \u003cem>What We Do in the Shadows\u003c/em> are multi-century-old Europeans, meaning they’ve been through multiple plagues. Hell, a common trope in vampire fiction—from Bram Stoker and Richard Matheson to San Francisco’s own Anne Rice and Christopher Moore—is for the vamps to hide in plain sight by letting the public believe their victims died of some illness. That makes it perfect for \u003cem>Shadows’\u003c/em> morbid humor, but somehow this plague has passed them by.\u003c/p>\n\u003cfigure id=\"attachment_13912587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg\" alt=\"a woman with blue hair wears a face mask as she passes by protestors\" width=\"800\" height=\"387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-800x387.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-1020x493.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1-768x371.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/rev-1-KIMI-FF-049r_High_Res_JPEG-1260x609-1.jpg 1260w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zoe Kravitz in a still from ‘KIMI,’ during a scene where her character wears a mask while encountering protesters in Seattle.\u003c/figcaption>\u003c/figure>\n\u003cp>I haven’t seen Steven Soderbergh’s \u003cem>KIMI\u003c/em>, which I’m told is one of the few recent films to truly acknowledge the pandemic. But I’ve seen both great seasons of HBO’s \u003cem>Betty\u003c/em>, the latter of which features its teen leads living in a post-George Floyd world of COVID and Karens.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I wish those weren’t outliers in mainstream pop culture. I haven’t been to the movies in two years, but I hope films and series lean more heavily into COVID-related material. After all, if I wanted to watch shows where everyone ignores the virus, I’d just watch the news.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "As Mask Wearing Dwindles, Touring Musicians Left to Fend for Themselves",
"headTitle": "As Mask Wearing Dwindles, Touring Musicians Left to Fend for Themselves | KQED",
"content": "\u003cp>\u003ca href=\"https://www.instagram.com/p/CciQUSwF__k/\" target=\"_blank\" rel=\"noopener noreferrer\">Videos of passengers rejoicing\u003c/a> went viral on Monday after the Transportation Security Administration (TSA) announced it would \u003ca href=\"https://www.cnbc.com/2022/04/18/florida-judge-overturns-cdc-mask-mandate-for-public-transit-planes.html\" target=\"_blank\" rel=\"noopener noreferrer\">no longer require masks\u003c/a> on planes and public transportation. But for many touring musicians across the country, it wasn’t a moment for cheers—more like a giant, collective gulp.\u003c/p>\n\u003cp>After all, prior to the federal court ruling that prompted the TSA’s policy change, many nightclubs nationwide—\u003ca href=\"https://www.dnalounge.com/backstage/log/2022/04/19.html\" target=\"_blank\" rel=\"noopener noreferrer\">even in COVID-cautious cities like San Francisco\u003c/a>—stopped requiring masks and checking vaccines. Planes and public transportation were some of the last crowded areas where masks were required, and now that final layer of protection has been stripped away.\u003c/p>\n\u003cp>\u003ca href=\"https://www.pbs.org/newshour/health/once-again-u-s-faces-another-covid-19-surge-as-cases-rise-nationally\" target=\"_blank\" rel=\"noopener noreferrer\">COVID cases are climbing in the U.S.\u003c/a> due to the omicron BA.2 subvariant, and public health experts warn that they’re probably \u003ca href=\"https://abcnews.go.com/Health/us-dramatically-undercounting-current-covid-19-resurgence-experts/story?id=84012793\" target=\"_blank\" rel=\"noopener noreferrer\">undercounted because of decreased lab testing\u003c/a>. As a result, some independent artists are weighing health concerns and financial risks against their aspirations to make a living from their craft.\u003c/p>\n\u003cp>“Artists don’t make a ton. Oftentimes they don’t have any health insurance. If they do get sick, it can be a crisis, especially with a sickness like this,” says Oakland rapper \u003ca href=\"http://www.lateefthetruthspeaker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lateef the Truthspeaker\u003c/a>.\u003c/p>\n\u003cp>Indeed, if a musician gets COVID on the road, not only would they and their crew lose income from canceled gigs, but they’d also be responsible for out-of-pocket expenses like rescheduled flights and hotels in which to quarantine while far from home. And that’s after two years without touring, the primary way most independent musicians make a living.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although there’s no official tally of how many touring musicians have gotten COVID on the road recently, \u003ca href=\"https://variety.com/2022/music/news/mask-vaccine-mandates-covid-musicians-coachella-1235236246/\" target=\"_blank\" rel=\"noopener noreferrer\">anecdotal evidence suggests this group is particularly vulnerable\u003c/a>: Artists like Mitski, Spoon and Bob Mould have canceled shows because of COVID outbreaks in recent weeks. And others, such as Los Angeles art-pop singer Sasami, have taken to social media to beg fans to keep their masks on at shows. “If we get Covid and have to cancel shows I’m fully FUCKED,” Sasami wrote.\u003c/p>\n\u003cp>https://twitter.com/sasamiashworth/status/1506057117568020485\u003c/p>\n\u003cp>Lateef has chosen to play mostly local shows in the coming months aside from one performance in Paris in July. “I think asking people to [risk their health] while they’ve had friends or family members that have potentially died from this disease is messed up. It’s a big ask,” he says.\u003c/p>\n\u003cp>While many Americans have resigned themselves to the likelihood of eventually catching COVID, \u003ca href=\"https://www.disabilityscoop.com/2022/03/07/disability-advocates-want-cdc-to-reinstate-indoor-mask-guidelines/29738/\" target=\"_blank\" rel=\"noopener noreferrer\">disability rights activists have been speaking out\u003c/a> about how abandoning masking in crowded settings unnecessarily puts immunocompromised people in harm’s way.\u003c/p>\n\u003cp>That would have been the case for Lateef’s late collaborator \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\" target=\"_blank\" rel=\"noopener noreferrer\">Gift of Gab\u003c/a>, the Blackalicious MC who died in 2021 after years of living with diabetes and kidney failure. “Gab was immunocompromised. He wasn’t gonna be able to get a vaccine, and he was very, very frustrated about people’s unwillingness to think about other people or consider their health,” Lateef says. “I just feel like the whole orientation has been wrong in terms of taking care of human beings during this time.”\u003c/p>\n\u003cp>Berkeley rapper Al Patrone agrees. Although he would have loved to organize concerts for his group \u003ca href=\"https://hellaskeletonsrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blazewave\u003c/a> this summer, he decided to take a job with a video game company in South Korea instead. A big part of the draw is that country’s culture of masking, robust public health messaging and temperature checks.\u003c/p>\n\u003cp>“Going there it was like, checks everywhere, masks everywhere. Everyone was on top of it,” he says of his time in South Korea last summer. “So, coming back here, I would love to tour, but I don’t think America has stepped up in a technological way to make people feel safe as far as taking temperatures and keeping track of outbreaks.”\u003c/p>\n\u003cp>Robbie Kowal, owner of Bay Area event production company \u003ca href=\"https://www.hushconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts\u003c/a>, would like to see masks and vaccine checks continue in the U.S.. But lately, he’s been coming to grips with the reality that many people have given up. “It got turned into this polarizing thing, and no one wants to fight a war over public health anymore,” he tells me over the phone while driving from Coachella, where he and his staff put on a silent disco at the music festival. [aside postid='arts_13912128']\u003c/p>\n\u003cp>This year, Coachella did away with masking, vaccine checks and PCR tests, a move that \u003ca href=\"https://pitchfork.com/thepitch/coachellas-plan-to-lift-covid-19-rules-worries-health-experts/\" target=\"_blank\" rel=\"noopener noreferrer\">prompted outcry among public health experts\u003c/a>. And Kowal says that many contracts from talent agencies now come with clauses that make promoters financially liable for canceling shows out of safety concerns if there’s no government mandate to do so. That’s even if there’s a new virus outbreak.\u003c/p>\n\u003cp>“In my case, I’m going to do what I need to do to protect myself and my staff—that means getting them vaxxed, making sure they have access to the high-grade masks if they want them,” says Kowal, noting that he’s immunocompromised and wears an N95 mask on planes and in crowds.\u003c/p>\n\u003cp>“There’s nothing I can do about it, so I can try to control my own area and my own tour family to wade through whatever’s going to happen,” says \u003ca href=\"https://www.instagram.com/therocknrolllaundry/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Schneider\u003c/a>, a San Leandro concert production manager who recently wrapped up a 19-city tour with Korn where the band and crew were tested at random. He says no one got sick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A 40-year veteran of the business, Schneider went the extra mile to make sure the musicians he went on tour with would stay safe: He got certified as a COVID compliance officer at the start of the pandemic. “I can assure you that as a touring community, we will likely be more careful than the general public.”\u003c/p>\n\n",
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"excerpt": "“Artists don’t make a ton. ... If they do get sick, it can be a crisis,” says Oakland rapper Lateef the Truthspeaker.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/p/CciQUSwF__k/\" target=\"_blank\" rel=\"noopener noreferrer\">Videos of passengers rejoicing\u003c/a> went viral on Monday after the Transportation Security Administration (TSA) announced it would \u003ca href=\"https://www.cnbc.com/2022/04/18/florida-judge-overturns-cdc-mask-mandate-for-public-transit-planes.html\" target=\"_blank\" rel=\"noopener noreferrer\">no longer require masks\u003c/a> on planes and public transportation. But for many touring musicians across the country, it wasn’t a moment for cheers—more like a giant, collective gulp.\u003c/p>\n\u003cp>After all, prior to the federal court ruling that prompted the TSA’s policy change, many nightclubs nationwide—\u003ca href=\"https://www.dnalounge.com/backstage/log/2022/04/19.html\" target=\"_blank\" rel=\"noopener noreferrer\">even in COVID-cautious cities like San Francisco\u003c/a>—stopped requiring masks and checking vaccines. Planes and public transportation were some of the last crowded areas where masks were required, and now that final layer of protection has been stripped away.\u003c/p>\n\u003cp>\u003ca href=\"https://www.pbs.org/newshour/health/once-again-u-s-faces-another-covid-19-surge-as-cases-rise-nationally\" target=\"_blank\" rel=\"noopener noreferrer\">COVID cases are climbing in the U.S.\u003c/a> due to the omicron BA.2 subvariant, and public health experts warn that they’re probably \u003ca href=\"https://abcnews.go.com/Health/us-dramatically-undercounting-current-covid-19-resurgence-experts/story?id=84012793\" target=\"_blank\" rel=\"noopener noreferrer\">undercounted because of decreased lab testing\u003c/a>. As a result, some independent artists are weighing health concerns and financial risks against their aspirations to make a living from their craft.\u003c/p>\n\u003cp>“Artists don’t make a ton. Oftentimes they don’t have any health insurance. If they do get sick, it can be a crisis, especially with a sickness like this,” says Oakland rapper \u003ca href=\"http://www.lateefthetruthspeaker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lateef the Truthspeaker\u003c/a>.\u003c/p>\n\u003cp>Indeed, if a musician gets COVID on the road, not only would they and their crew lose income from canceled gigs, but they’d also be responsible for out-of-pocket expenses like rescheduled flights and hotels in which to quarantine while far from home. And that’s after two years without touring, the primary way most independent musicians make a living.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although there’s no official tally of how many touring musicians have gotten COVID on the road recently, \u003ca href=\"https://variety.com/2022/music/news/mask-vaccine-mandates-covid-musicians-coachella-1235236246/\" target=\"_blank\" rel=\"noopener noreferrer\">anecdotal evidence suggests this group is particularly vulnerable\u003c/a>: Artists like Mitski, Spoon and Bob Mould have canceled shows because of COVID outbreaks in recent weeks. And others, such as Los Angeles art-pop singer Sasami, have taken to social media to beg fans to keep their masks on at shows. “If we get Covid and have to cancel shows I’m fully FUCKED,” Sasami wrote.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Lateef has chosen to play mostly local shows in the coming months aside from one performance in Paris in July. “I think asking people to [risk their health] while they’ve had friends or family members that have potentially died from this disease is messed up. It’s a big ask,” he says.\u003c/p>\n\u003cp>While many Americans have resigned themselves to the likelihood of eventually catching COVID, \u003ca href=\"https://www.disabilityscoop.com/2022/03/07/disability-advocates-want-cdc-to-reinstate-indoor-mask-guidelines/29738/\" target=\"_blank\" rel=\"noopener noreferrer\">disability rights activists have been speaking out\u003c/a> about how abandoning masking in crowded settings unnecessarily puts immunocompromised people in harm’s way.\u003c/p>\n\u003cp>That would have been the case for Lateef’s late collaborator \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\" target=\"_blank\" rel=\"noopener noreferrer\">Gift of Gab\u003c/a>, the Blackalicious MC who died in 2021 after years of living with diabetes and kidney failure. “Gab was immunocompromised. He wasn’t gonna be able to get a vaccine, and he was very, very frustrated about people’s unwillingness to think about other people or consider their health,” Lateef says. “I just feel like the whole orientation has been wrong in terms of taking care of human beings during this time.”\u003c/p>\n\u003cp>Berkeley rapper Al Patrone agrees. Although he would have loved to organize concerts for his group \u003ca href=\"https://hellaskeletonsrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blazewave\u003c/a> this summer, he decided to take a job with a video game company in South Korea instead. A big part of the draw is that country’s culture of masking, robust public health messaging and temperature checks.\u003c/p>\n\u003cp>“Going there it was like, checks everywhere, masks everywhere. Everyone was on top of it,” he says of his time in South Korea last summer. “So, coming back here, I would love to tour, but I don’t think America has stepped up in a technological way to make people feel safe as far as taking temperatures and keeping track of outbreaks.”\u003c/p>\n\u003cp>Robbie Kowal, owner of Bay Area event production company \u003ca href=\"https://www.hushconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts\u003c/a>, would like to see masks and vaccine checks continue in the U.S.. But lately, he’s been coming to grips with the reality that many people have given up. “It got turned into this polarizing thing, and no one wants to fight a war over public health anymore,” he tells me over the phone while driving from Coachella, where he and his staff put on a silent disco at the music festival. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, Coachella did away with masking, vaccine checks and PCR tests, a move that \u003ca href=\"https://pitchfork.com/thepitch/coachellas-plan-to-lift-covid-19-rules-worries-health-experts/\" target=\"_blank\" rel=\"noopener noreferrer\">prompted outcry among public health experts\u003c/a>. And Kowal says that many contracts from talent agencies now come with clauses that make promoters financially liable for canceling shows out of safety concerns if there’s no government mandate to do so. That’s even if there’s a new virus outbreak.\u003c/p>\n\u003cp>“In my case, I’m going to do what I need to do to protect myself and my staff—that means getting them vaxxed, making sure they have access to the high-grade masks if they want them,” says Kowal, noting that he’s immunocompromised and wears an N95 mask on planes and in crowds.\u003c/p>\n\u003cp>“There’s nothing I can do about it, so I can try to control my own area and my own tour family to wade through whatever’s going to happen,” says \u003ca href=\"https://www.instagram.com/therocknrolllaundry/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Schneider\u003c/a>, a San Leandro concert production manager who recently wrapped up a 19-city tour with Korn where the band and crew were tested at random. He says no one got sick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A 40-year veteran of the business, Schneider went the extra mile to make sure the musicians he went on tour with would stay safe: He got certified as a COVID compliance officer at the start of the pandemic. “I can assure you that as a touring community, we will likely be more careful than the general public.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13912010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-800x800.jpg\" alt=\"Kevin Madrigal wears a blue and white collared shirt as he looks into the camera for a portrait photo.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_.jpg 1322w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Kevin Madrigal. \u003ccite>(Syd Yatco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>‘Bittersweet’ by Kevin Madrigal Galindo\u003c/h2>\n\u003cp>\u003cem>Losing my sense of smell made me realize all food tastes the same and what are we at the end of the day if not the stories & memories associated with scents of the past.\u003c/em>\u003c/p>\n\u003cp>\u003cem>What I mean to say is COVID made me inhuman & contagious and I have never wanted to dissociate my mind from my body more than the sore throat, body aches, and isolation I was rewarded with for being reckless.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The first person to call and check in was my primo Luis in Guadalajara, whose father died from COVID and I can’t help but notice that he sounds more like my memory of his father. I wonder if it’s intentional, regardless I have COVID but won’t die from it, most likely.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The weird thing about losing your sense of smell is that complex flavors like aged triple cream cheese condense to salty and my favorite apple, the pink lady, loses its tartness and becomes only sweet.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Like 80% dark chocolate, there’s a bitter truth about living through hardships your loved ones couldn’t survive but right now that truth only tastes sweet.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912009\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Kevin-Madrigal-TBT.jpg\" alt=\"\" width=\"600\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Kevin-Madrigal-TBT.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Kevin-Madrigal-TBT-160x200.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\" />\u003cfigcaption class=\"wp-caption-text\">A throwback photo of Kevin Madrigal. \u003ccite>(Kelsey Krach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What specific experience inspired this piece?\u003c/strong>\u003c/p>\n\u003cp>Kevin Madrigal Galindo: I caught COVID in October of 2021 while living at home with my parents (I’m vaccinated, they are too, and we are all okay, thankfully). I’ve been working as a chef & nutrition educator in some capacity for the past nine years, so when I came down with symptoms and ended up losing my sense of smell, it really messed with me. A year before, in September of 2020, my tío Jose died from COVID. I had started off 2020 living with him and his family in Guadalajara, until I eventually returned home after news of the pandemic. I wrote this piece while I was in isolation, just eating food because I had to. I couldn’t help but think about my tío, the stark differences of our COVID experiences, and the family he left behind.\u003c/p>\n\u003cp>\u003cstrong>Personally, I struggled with finding the language and energy to express my own experience with COVID. How did you manage to do so, and how did it feel to get it off your chest?\u003c/strong>\u003c/p>\n\u003cp>Since I began writing, poetry has served both as an outlet for expression and a sort of personal therapeutic practice. I felt like I had to write about what I was feeling in order to really process what was going on. When I do sit with this piece, though, I always feel a sense of guilt, connected with all the people that I know (even just within my own family) that have died from COVID. I don’t know if that guilt will ever go away, but I think it’s necessary to carry it along with the memories of my ancestors.\u003c/p>\n\u003cp>\u003cstrong>Why do you write?\u003c/strong>\u003c/p>\n\u003cp>I think Josiah Luis Alderete said it best: “Black and brown poets, we’re historians. Art for a lot of us is about survival. Survival is history, memoria.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Keep up with Kevin Madrigal’s activities \u003ca href=\"https://linktr.ee/kmadirl\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> or \u003ca href=\"https://www.instagram.com/kmadrigal/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>; his debut chapbook ‘Hell/a Mexican’ can be found at \u003ca href=\"https://medicinefornightmares.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Medicine for Nightmares\u003c/a> in San Francisco, or online at \u003ca href=\"https://www.nomadicpress.org/store/p/hellamexican\" target=\"_blank\" rel=\"noopener noreferrer\">Nomadic Press\u003c/a>.\u003c/em>\u003c/p>\n",
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"excerpt": "Kevin Madrigal's poem was inspired by getting COVID—and the family it took from him. Read it here for National Poetry Month. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13912010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-800x800.jpg\" alt=\"Kevin Madrigal wears a blue and white collared shirt as he looks into the camera for a portrait photo.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_.jpg 1322w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Kevin Madrigal. \u003ccite>(Syd Yatco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>‘Bittersweet’ by Kevin Madrigal Galindo\u003c/h2>\n\u003cp>\u003cem>Losing my sense of smell made me realize all food tastes the same and what are we at the end of the day if not the stories & memories associated with scents of the past.\u003c/em>\u003c/p>\n\u003cp>\u003cem>What I mean to say is COVID made me inhuman & contagious and I have never wanted to dissociate my mind from my body more than the sore throat, body aches, and isolation I was rewarded with for being reckless.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The first person to call and check in was my primo Luis in Guadalajara, whose father died from COVID and I can’t help but notice that he sounds more like my memory of his father. I wonder if it’s intentional, regardless I have COVID but won’t die from it, most likely.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The weird thing about losing your sense of smell is that complex flavors like aged triple cream cheese condense to salty and my favorite apple, the pink lady, loses its tartness and becomes only sweet.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Like 80% dark chocolate, there’s a bitter truth about living through hardships your loved ones couldn’t survive but right now that truth only tastes sweet.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912009\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Kevin-Madrigal-TBT.jpg\" alt=\"\" width=\"600\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Kevin-Madrigal-TBT.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Kevin-Madrigal-TBT-160x200.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\" />\u003cfigcaption class=\"wp-caption-text\">A throwback photo of Kevin Madrigal. \u003ccite>(Kelsey Krach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What specific experience inspired this piece?\u003c/strong>\u003c/p>\n\u003cp>Kevin Madrigal Galindo: I caught COVID in October of 2021 while living at home with my parents (I’m vaccinated, they are too, and we are all okay, thankfully). I’ve been working as a chef & nutrition educator in some capacity for the past nine years, so when I came down with symptoms and ended up losing my sense of smell, it really messed with me. A year before, in September of 2020, my tío Jose died from COVID. I had started off 2020 living with him and his family in Guadalajara, until I eventually returned home after news of the pandemic. I wrote this piece while I was in isolation, just eating food because I had to. I couldn’t help but think about my tío, the stark differences of our COVID experiences, and the family he left behind.\u003c/p>\n\u003cp>\u003cstrong>Personally, I struggled with finding the language and energy to express my own experience with COVID. How did you manage to do so, and how did it feel to get it off your chest?\u003c/strong>\u003c/p>\n\u003cp>Since I began writing, poetry has served both as an outlet for expression and a sort of personal therapeutic practice. I felt like I had to write about what I was feeling in order to really process what was going on. When I do sit with this piece, though, I always feel a sense of guilt, connected with all the people that I know (even just within my own family) that have died from COVID. I don’t know if that guilt will ever go away, but I think it’s necessary to carry it along with the memories of my ancestors.\u003c/p>\n\u003cp>\u003cstrong>Why do you write?\u003c/strong>\u003c/p>\n\u003cp>I think Josiah Luis Alderete said it best: “Black and brown poets, we’re historians. Art for a lot of us is about survival. Survival is history, memoria.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Keep up with Kevin Madrigal’s activities \u003ca href=\"https://linktr.ee/kmadirl\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> or \u003ca href=\"https://www.instagram.com/kmadrigal/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>; his debut chapbook ‘Hell/a Mexican’ can be found at \u003ca href=\"https://medicinefornightmares.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Medicine for Nightmares\u003c/a> in San Francisco, or online at \u003ca href=\"https://www.nomadicpress.org/store/p/hellamexican\" target=\"_blank\" rel=\"noopener noreferrer\">Nomadic Press\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There have been countless thrillers about women who shut themselves away in their homes, only to learn that the world inside may be even more terrifying than the one outside. Not all of them are winners; for every ’60s classic like \u003cem>Repulsion\u003c/em> or \u003cem>Wait Until Dark\u003c/em>, there’s also a howler like last year’s overwrought Hitchcock homage \u003ca href=\"https://www.npr.org/2021/05/14/996178421/the-woman-in-the-window-locks-amy-adams-inside\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Woman in the Window\u003c/em>\u003c/a>\u003cem>.\u003c/em> The gripping new movie \u003cem>Kimi\u003c/em> is a nifty little addition to the shut-in canon. 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But she can also be impatient and inconsiderate of the people in her life, whether it’s her mom, whom she argues with on FaceTime, or the love interest who lives in the apartment across the street, in a tip of the hat to Hitchcock’s \u003cem>Rear Window\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Angela’s only human, in other words, and while most viewers may not share her agoraphobia, many of us can identify with her fears of going out after months of isolation. That’s why it’s both harrowing and moving when she finally musters the courage to leave home. Soderbergh, who shot and edited the film, uses tilted camera angles and bustling city noises to convey a sense of Angela’s disorientation. But as she moves forward, Angela adjusts, and \u003cem>Kimi \u003c/em>becomes a story about what it’s like to reconnect with the world. 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"content": "\u003cdiv class=\"post-body\">\u003cp>Angela has a Kimi of her own, which comes in handy since she never leaves her spacious loft apartment. She’s agoraphobic, and while she got a handle on her anxiety years earlier, she lost it again during COVID lockdown.\u003c/p>\n\u003cp>Angela’s job is to make Kimi smarter and more user-friendly. She listens to audio streams from customers whose requests Kimi didn’t understand—and then writes code that will fix the issue. One day, she hears a disturbing clip of a woman screaming and realizes that Kimi must have somehow recorded a violent crime in progress. But when Angela tries to report her findings to the company, she’s given the runaround and told to forget about what she heard. When she doesn’t and starts learning more about the victim, who appears to have been brutally murdered, things get unexpectedly hairy.\u003c/p>\n\u003cp>It’s a pleasure to watch Angela turn digital sleuth; Soderbergh is the kind of filmmaker so focused on minutiae that he can wring suspense from shots of typing fingers and blinking cursors. Eventually, Angela is told to come down to the office and meet with a company executive, forcing her to leave her apartment for the first time in months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/A8QvFlhO14k'\n title='//www.youtube.com/embed/A8QvFlhO14k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Soderbergh and his screenwriter, David Koepp, have structured \u003cem>Kimi\u003c/em> as a sly 21st-century riff on classic paranoid thrillers from the 1970s. The fact that Angela is both surveilling and being surveilled harks back to \u003cem>The Conversation\u003c/em>, while the sinister corporate conspiracy she uncovers echoes \u003cem>The Parallax View\u003c/em>. Paranoia, of course, isn’t an inappropriate response to a world where anyone with a smartphone knows that they’re being closely tracked.\u003c/p>\n\u003cp>\u003cem>Kimi\u003c/em> packs a lot of ideas into its brisk 89-minute running time about the pervasiveness of digital technologies, especially at a moment when COVID has made us more reliant on them than ever. But the movie also works like gangbusters as a pure thriller, from its outdoor chase sequences shot across downtown Seattle to its squirmingly tense \u003cem>Panic Room\u003c/em> finale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It wouldn’t work nearly as well without Kravitz, who makes for an extremely likable protagonist in part because her character has no interest in seeming likable. Angela’s anxiety earns your sympathy, and her persistence and resourcefulness earn your respect. But she can also be impatient and inconsiderate of the people in her life, whether it’s her mom, whom she argues with on FaceTime, or the love interest who lives in the apartment across the street, in a tip of the hat to Hitchcock’s \u003cem>Rear Window\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Angela’s only human, in other words, and while most viewers may not share her agoraphobia, many of us can identify with her fears of going out after months of isolation. That’s why it’s both harrowing and moving when she finally musters the courage to leave home. Soderbergh, who shot and edited the film, uses tilted camera angles and bustling city noises to convey a sense of Angela’s disorientation. But as she moves forward, Angela adjusts, and \u003cem>Kimi \u003c/em>becomes a story about what it’s like to reconnect with the world. That world might be a big, scary place, but it’s not necessarily scarier than what’s going on indoors, where someone might always be watching—or listening.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Kimi%27+is+a+pandemic-era+thriller+that%27s+eerily+keyed+into+our+current+moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Wild Nights at Luka’s, Where Oakland Partied Together",
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"content": "\u003cp>[dropcap]I[/dropcap]n the early 2000s, going to Brothers & Sisters at Luka’s Taproom & Lounge was nothing short of a transcendental experience for \u003ca href=\"http://djemancipation.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Emancipation\u003c/a>.\u003c/p>\n\u003cp>Every Thursday, she and her friends would roll up on their bikes to the downtown Oakland spot. Once inside, they’d say hello to the host, bypass the dining area and enter the dancefloor through a heavy velvet curtain. “It had this mysterious feeling to it, like you’re about to enter a womb of love,” she remembers.\u003c/p>\n\u003cp>Emancipation, who eventually became a resident DJ at the party, says those nights felt “almost like a prayer for our community”: bodies moving in unison to soulful house music, the advanced dancers getting in the middle of the circle, time melting away. At the time, downtown Oakland had fewer places for young people to party, and almost none of the existing spots had nights welcoming Black and Brown LGBTQ+ clientele like Brothers & Sisters did.\u003c/p>\n\u003cp>“Our sweat and our DNA is definitely ingrained in the wood floors of that space,” she says.\u003c/p>\n\u003cp>“The party was for everybody,” says \u003ca href=\"https://www.mixcloud.com/DjDedan/stream/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Dedan\u003c/a>, who started Brothers & Sisters with DJ Daniella in 2004, when Luka’s first opened. “The whole idea is to bring people together and have a slice of utopia for those four, five hours on a Thursday.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last week, Luka’s announced it would be closing after 18 years in business. Husband-wife owner team Rick Mitchell and Maria Alderete decided to shut down after their landlord, HP Investors, \u003ca href=\"https://oaklandside.org/2022/01/07/lukas-oakland-closing-hp-investors/\" target=\"_blank\" rel=\"noopener noreferrer\">wanted to double the rent\u003c/a> and take a portion of their profits in a participation agreement. The bar, restaurant and venue will close at the end of January, joining a growing list of pandemic-era closures in the area that includes longtime punk dive Stork Club, nightclub The Layover and soul food destination \u003ca href=\"https://oaklandside.org/2022/01/11/brown-sugar-kitchen-tanya-holland-closed/\" target=\"_blank\" rel=\"noopener noreferrer\">Brown Sugar Kitchen\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/BZU6AsBArGr/\u003c/p>\n\u003cp>With some key establishments going out of business and customers hesitant to go out because of the recent surge in COVID-19 cases, “downtown is looking real 2004-ish,” says Leon Dnas Sykes, an Oakland high school teacher, community advocate and radio personality who hosted the party Fresh Steps at Luka’s from 2009 to 2017. He’s referring to the era before Oakland saw a massive influx of development and gentrification, a time when city policy made it difficult for nightlife venues catering to young, Black audiences to operate.\u003c/p>\n\u003cp>Although Oakland lifted an \u003ca href=\"https://www.latimes.com/archives/la-xpm-1990-12-31-ca-5617-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">official ban on rap concerts in 1990\u003c/a>, throughout the ’90s and 2000s, discrimination was still rampant. Club owners said \u003ca href=\"https://eastbayexpress.com/delete-add-delete-1/\" target=\"_blank\" rel=\"noopener noreferrer\">police scapegoated them for neighborhood violence\u003c/a>, and leveraged expensive security fees and bureaucratic hurdles to make throwing events difficult, \u003ca href=\"https://www.kqed.org/arts/13902006/oakland-police-security-fees-community-events-canceled\" target=\"_blank\" rel=\"noopener noreferrer\">a trend that continues\u003c/a> to a lesser extent today. [aside postid='arts_13902006']\u003c/p>\n\u003cp>“Black nightlife was strategically removed,” says community advocate and event organizer Chaney Turner. “That’s when you had a ghost town, pretty much, downtown. OPD would sit in front, pretty much intimidating the owners and staff, and providing ‘security’ or whatever, and sending these venues these crazy ass bills.”\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen Lukas opened in 2004, there were few places in town where hip-hop thrived outside of house parties and underground warehouses. “There was definitely this excitement that there was a legit venue that was supporting real hip-hop DJs,” remembers \u003ca href=\"https://djplaturn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Platurn\u003c/a>, who DJed at Luka’s on First Fridays from its early days until about 2011. “Oasis was around, and was Geoffey’s Inner Circle was around. But this was the new spot, and we hadn’t seen a new spot that was at this caliber come along in I don’t know how long. … It was a big deal for Oakland, I definitely remember that.”\u003c/p>\n\u003cfigure id=\"attachment_13829481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Platurn in 2017. \u003ccite>(Jose Lim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My original vision was I wanted to make it like going to Kool Herc’s place in 1972—DJs cuttin’ it up, showing off their skills, not just playing records,” says co-owner Mitchell.\u003c/p>\n\u003cp>When he and Alderete started the business, he had previous experience waiting tables but had never run a bar or restaurant, let alone a nightclub. He enlisted DJ Wisdom, who booked the first parties at Luka’s and helped Mitchell network with other DJs. DJ Platurn and DJ Spair started a party called Flashback Fridays after Mitchell wrote an email to the address on the back of their mixtape from their influential DJ collective, \u003ca href=\"https://twitter.com/oaklandfaders\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Faders\u003c/a>.\u003c/p>\n\u003cp>By the mid 2000s, the First Friday art walk started drawing a punk and hipster crowd to downtown, and the hyphy movement was in full swing. The excitement of young, creative energy was in the air. Underground scenes percolated, invigorated by the rise of early social media and sustained by an abundance of cheap real estate. Luka’s was a place where all these different kinds of people could meet.\u003c/p>\n\u003cp>“There just wasn’t a ton of stuff to choose from, and there was an energy involved with our night that people were really attracted to,” says DJ Platurn. “That was for sure an undeniable thing that I remember pretty fondly as far as an Oakland nightlife energy goes, where you’re seeing people from literally every walk of life and all ages, the whole nine, all coming to party for the right reasons. … The drinks were always super heavy, the bartenders were always really generous with their pours. People would be hammered, having a blast. Dancing the whole night. The walls would fucking sweat in that place on our nights. It was hardcore.”\u003c/p>\n\u003cp>Over the years, Luka’s nightlife programming continued to evolve: there were nights for salsa and reggae, and local celebrities like Pam the Funkstress (who DJed for Prince and Boots Riley’s The Coup) regularly showed up. After DJ Platurn and DJ Spair moved on, DJ Mere and Max Kane took over First Fridays, and eventually KMEL’s \u003ca href=\"https://www.instagram.com/lexxjonez/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lexx Jonez\u003c/a> held down the slot along with Kane.\u003c/p>\n\u003cp>“When First Fridays were going on outside, it was usually people’s first stop,” he says. “It was a meeting place for artists and DJs and everybody, period.”\u003c/p>\n\u003cfigure id=\"attachment_13908155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IMG_4017-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pam the Funkstress’ signature inside the DJ booth at Luka’s.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/aebldee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Aebl Dee\u003c/a> started his party, Fresh Steps on a New Lawn, in 2008 to celebrate Black excellence after Barack Obama was elected. The monthly showcase continued at Luka’s for 10 years, and became a place for emerging rappers to sharpen their skills. Bay Area artists who eventually became nationally recognized—IAMSU, P-Lo, Ian Kelly, Duckwrth—had some of their first performances there. Veterans like Zion I and Mac Mall showed up, too. And there were even live instrumentalists: hip-hop orchestra Ensemble Mik Nawooj performed, and so did hip-hop, rock and cumbia group Bang Data.\u003c/p>\n\u003cp>“It was such an intimate show—it was no stress,” says Aebl Dee. “You showed up, handed me a flashdrive and just got up on the stage and went for it.”\u003c/p>\n\u003cfigure id=\"attachment_13908153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IMG_1879-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A blurry photo captures the chaotic dancefloor at Oakland Faders’ party, Flashback Fridays, at Luka’s. \u003ccite>(DJ Platurn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]W[/dropcap]hile Luka’s is set to close at the end of the month, HP Investors hasn’t officially announced new plans for the site. Razing the building to put up a hotel is one possibility. For many longtime Oakland residents, that prospect indicates a trend towards homogeny and more corporate ownership, and less of what makes the city vibrant.\u003c/p>\n\u003cp>“Each time we lose a space, we’re losing a bit of culture,” says Chaney Turner. “We’re losing memories that have been made, friendships with different people.”\u003c/p>\n\u003cp>Noting the empty storefronts downtown, Turner says, “The city has to do more to protect our small businesses across the board so we can protect jobs.”\u003c/p>\n\u003cp>“The reason why people come to places like Oakland, even San Francisco, New York, is because there’s a culture there,” says Brothers & Sisters’ DJ Dedan. “When you start stripping that culture away, what are you gonna have? You have a hotel but there’s no reason to go to Oakland anymore because there’s nothing there.”\u003c/p>\n\u003cp>Aebl Dee takes a more optimistic view. He recently started spinning at \u003ca href=\"https://www.continentalcluboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Continental Club\u003c/a>, a historic blues venue that just reopened in West Oakland, and he’s a resident DJ on First Fridays at \u003ca href=\"https://www.instagram.com/hellostrangerbar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Hello Stranger\u003c/a> with DJ Platurn, who is the talent buyer and promoter there. “Oakland nightlife is gonna be here,” he says.\u003c/p>\n\u003cp>https://www.instagram.com/p/Br9WqbsBrF9/\u003c/p>\n\u003cp>Indeed, other new club openings are on the horizon: Mistah F.A.B. secured a spot for his venue, \u003ca href=\"https://www.instagram.com/p/CYNXyperF-6/\" target=\"_blank\" rel=\"noopener noreferrer\">Dezi’s\u003c/a>, opening later this year, and a new place called \u003ca href=\"https://www.instagram.com/p/CYmjcfovhF4/\" target=\"_blank\" rel=\"noopener noreferrer\">Crybaby\u003c/a>—owned by a \u003ca href=\"https://www.instagram.com/p/CS99P_YhJ5u/\" target=\"_blank\" rel=\"noopener noreferrer\">crew of longtime DJs, musicians, independent label owners and promoters\u003c/a>—is also set to debut soon at an unspecified date.\u003c/p>\n\u003cp>As for the owners of Luka’s, once their venue closes they’ll be taking some time off from the hustle of running a small business to focus on community work. They started \u003ca href=\"https://www.ckoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Kitchens\u003c/a>, which buys meals from other local restaurants and serves them to people in need with the help of mobile clinics. They’ve distributed 120,000 hot meals since the pandemic started, Mitchell says, and are getting ready to launch a new initiative called \u003ca href=\"https://www.ckoakland.org/dining-for-justice\" target=\"_blank\" rel=\"noopener noreferrer\">Dining for Justice\u003c/a>, where the participating restaurants add a 1% surcharge to checks to raise permanent, sustainable funding for these efforts.\u003c/p>\n\u003cp>Luka’s brought people from all walks of life together in an unpretentious atmosphere, and for many artists and partygoers, it’ll always hold a special place in Oakland nightlife history. But when looking back at the venue’s legacy, Mitchell doesn’t like to take much credit.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The truth is, I didn’t come into this in any way with a master vision,” he says. “I was just a guy who didn’t like what I was doing before, and wanted to have a change and get involved in my community. People saw it as something going on and wanted to help. DJ Wisdom built our nightclub, and it’s just the community of people that came around, that’s what I’m most proud of, the people I’ve met and what they’ve accomplished. I managed to not burn the place down along the way. It’s everybody else who made it happen.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the early 2000s, going to Brothers & Sisters at Luka’s Taproom & Lounge was nothing short of a transcendental experience for \u003ca href=\"http://djemancipation.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Emancipation\u003c/a>.\u003c/p>\n\u003cp>Every Thursday, she and her friends would roll up on their bikes to the downtown Oakland spot. Once inside, they’d say hello to the host, bypass the dining area and enter the dancefloor through a heavy velvet curtain. “It had this mysterious feeling to it, like you’re about to enter a womb of love,” she remembers.\u003c/p>\n\u003cp>Emancipation, who eventually became a resident DJ at the party, says those nights felt “almost like a prayer for our community”: bodies moving in unison to soulful house music, the advanced dancers getting in the middle of the circle, time melting away. At the time, downtown Oakland had fewer places for young people to party, and almost none of the existing spots had nights welcoming Black and Brown LGBTQ+ clientele like Brothers & Sisters did.\u003c/p>\n\u003cp>“Our sweat and our DNA is definitely ingrained in the wood floors of that space,” she says.\u003c/p>\n\u003cp>“The party was for everybody,” says \u003ca href=\"https://www.mixcloud.com/DjDedan/stream/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Dedan\u003c/a>, who started Brothers & Sisters with DJ Daniella in 2004, when Luka’s first opened. “The whole idea is to bring people together and have a slice of utopia for those four, five hours on a Thursday.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last week, Luka’s announced it would be closing after 18 years in business. Husband-wife owner team Rick Mitchell and Maria Alderete decided to shut down after their landlord, HP Investors, \u003ca href=\"https://oaklandside.org/2022/01/07/lukas-oakland-closing-hp-investors/\" target=\"_blank\" rel=\"noopener noreferrer\">wanted to double the rent\u003c/a> and take a portion of their profits in a participation agreement. The bar, restaurant and venue will close at the end of January, joining a growing list of pandemic-era closures in the area that includes longtime punk dive Stork Club, nightclub The Layover and soul food destination \u003ca href=\"https://oaklandside.org/2022/01/11/brown-sugar-kitchen-tanya-holland-closed/\" target=\"_blank\" rel=\"noopener noreferrer\">Brown Sugar Kitchen\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With some key establishments going out of business and customers hesitant to go out because of the recent surge in COVID-19 cases, “downtown is looking real 2004-ish,” says Leon Dnas Sykes, an Oakland high school teacher, community advocate and radio personality who hosted the party Fresh Steps at Luka’s from 2009 to 2017. He’s referring to the era before Oakland saw a massive influx of development and gentrification, a time when city policy made it difficult for nightlife venues catering to young, Black audiences to operate.\u003c/p>\n\u003cp>Although Oakland lifted an \u003ca href=\"https://www.latimes.com/archives/la-xpm-1990-12-31-ca-5617-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">official ban on rap concerts in 1990\u003c/a>, throughout the ’90s and 2000s, discrimination was still rampant. Club owners said \u003ca href=\"https://eastbayexpress.com/delete-add-delete-1/\" target=\"_blank\" rel=\"noopener noreferrer\">police scapegoated them for neighborhood violence\u003c/a>, and leveraged expensive security fees and bureaucratic hurdles to make throwing events difficult, \u003ca href=\"https://www.kqed.org/arts/13902006/oakland-police-security-fees-community-events-canceled\" target=\"_blank\" rel=\"noopener noreferrer\">a trend that continues\u003c/a> to a lesser extent today. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Black nightlife was strategically removed,” says community advocate and event organizer Chaney Turner. “That’s when you had a ghost town, pretty much, downtown. OPD would sit in front, pretty much intimidating the owners and staff, and providing ‘security’ or whatever, and sending these venues these crazy ass bills.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen Lukas opened in 2004, there were few places in town where hip-hop thrived outside of house parties and underground warehouses. “There was definitely this excitement that there was a legit venue that was supporting real hip-hop DJs,” remembers \u003ca href=\"https://djplaturn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Platurn\u003c/a>, who DJed at Luka’s on First Fridays from its early days until about 2011. “Oasis was around, and was Geoffey’s Inner Circle was around. But this was the new spot, and we hadn’t seen a new spot that was at this caliber come along in I don’t know how long. … It was a big deal for Oakland, I definitely remember that.”\u003c/p>\n\u003cfigure id=\"attachment_13829481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Platurn in 2017. \u003ccite>(Jose Lim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My original vision was I wanted to make it like going to Kool Herc’s place in 1972—DJs cuttin’ it up, showing off their skills, not just playing records,” says co-owner Mitchell.\u003c/p>\n\u003cp>When he and Alderete started the business, he had previous experience waiting tables but had never run a bar or restaurant, let alone a nightclub. He enlisted DJ Wisdom, who booked the first parties at Luka’s and helped Mitchell network with other DJs. DJ Platurn and DJ Spair started a party called Flashback Fridays after Mitchell wrote an email to the address on the back of their mixtape from their influential DJ collective, \u003ca href=\"https://twitter.com/oaklandfaders\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Faders\u003c/a>.\u003c/p>\n\u003cp>By the mid 2000s, the First Friday art walk started drawing a punk and hipster crowd to downtown, and the hyphy movement was in full swing. The excitement of young, creative energy was in the air. Underground scenes percolated, invigorated by the rise of early social media and sustained by an abundance of cheap real estate. Luka’s was a place where all these different kinds of people could meet.\u003c/p>\n\u003cp>“There just wasn’t a ton of stuff to choose from, and there was an energy involved with our night that people were really attracted to,” says DJ Platurn. “That was for sure an undeniable thing that I remember pretty fondly as far as an Oakland nightlife energy goes, where you’re seeing people from literally every walk of life and all ages, the whole nine, all coming to party for the right reasons. … The drinks were always super heavy, the bartenders were always really generous with their pours. People would be hammered, having a blast. Dancing the whole night. The walls would fucking sweat in that place on our nights. It was hardcore.”\u003c/p>\n\u003cp>Over the years, Luka’s nightlife programming continued to evolve: there were nights for salsa and reggae, and local celebrities like Pam the Funkstress (who DJed for Prince and Boots Riley’s The Coup) regularly showed up. After DJ Platurn and DJ Spair moved on, DJ Mere and Max Kane took over First Fridays, and eventually KMEL’s \u003ca href=\"https://www.instagram.com/lexxjonez/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lexx Jonez\u003c/a> held down the slot along with Kane.\u003c/p>\n\u003cp>“When First Fridays were going on outside, it was usually people’s first stop,” he says. “It was a meeting place for artists and DJs and everybody, period.”\u003c/p>\n\u003cfigure id=\"attachment_13908155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IMG_4017-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_4017.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pam the Funkstress’ signature inside the DJ booth at Luka’s.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/aebldee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Aebl Dee\u003c/a> started his party, Fresh Steps on a New Lawn, in 2008 to celebrate Black excellence after Barack Obama was elected. The monthly showcase continued at Luka’s for 10 years, and became a place for emerging rappers to sharpen their skills. Bay Area artists who eventually became nationally recognized—IAMSU, P-Lo, Ian Kelly, Duckwrth—had some of their first performances there. Veterans like Zion I and Mac Mall showed up, too. And there were even live instrumentalists: hip-hop orchestra Ensemble Mik Nawooj performed, and so did hip-hop, rock and cumbia group Bang Data.\u003c/p>\n\u003cp>“It was such an intimate show—it was no stress,” says Aebl Dee. “You showed up, handed me a flashdrive and just got up on the stage and went for it.”\u003c/p>\n\u003cfigure id=\"attachment_13908153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IMG_1879-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1879-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A blurry photo captures the chaotic dancefloor at Oakland Faders’ party, Flashback Fridays, at Luka’s. \u003ccite>(DJ Platurn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hile Luka’s is set to close at the end of the month, HP Investors hasn’t officially announced new plans for the site. Razing the building to put up a hotel is one possibility. For many longtime Oakland residents, that prospect indicates a trend towards homogeny and more corporate ownership, and less of what makes the city vibrant.\u003c/p>\n\u003cp>“Each time we lose a space, we’re losing a bit of culture,” says Chaney Turner. “We’re losing memories that have been made, friendships with different people.”\u003c/p>\n\u003cp>Noting the empty storefronts downtown, Turner says, “The city has to do more to protect our small businesses across the board so we can protect jobs.”\u003c/p>\n\u003cp>“The reason why people come to places like Oakland, even San Francisco, New York, is because there’s a culture there,” says Brothers & Sisters’ DJ Dedan. “When you start stripping that culture away, what are you gonna have? You have a hotel but there’s no reason to go to Oakland anymore because there’s nothing there.”\u003c/p>\n\u003cp>Aebl Dee takes a more optimistic view. He recently started spinning at \u003ca href=\"https://www.continentalcluboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Continental Club\u003c/a>, a historic blues venue that just reopened in West Oakland, and he’s a resident DJ on First Fridays at \u003ca href=\"https://www.instagram.com/hellostrangerbar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Hello Stranger\u003c/a> with DJ Platurn, who is the talent buyer and promoter there. “Oakland nightlife is gonna be here,” he says.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Indeed, other new club openings are on the horizon: Mistah F.A.B. secured a spot for his venue, \u003ca href=\"https://www.instagram.com/p/CYNXyperF-6/\" target=\"_blank\" rel=\"noopener noreferrer\">Dezi’s\u003c/a>, opening later this year, and a new place called \u003ca href=\"https://www.instagram.com/p/CYmjcfovhF4/\" target=\"_blank\" rel=\"noopener noreferrer\">Crybaby\u003c/a>—owned by a \u003ca href=\"https://www.instagram.com/p/CS99P_YhJ5u/\" target=\"_blank\" rel=\"noopener noreferrer\">crew of longtime DJs, musicians, independent label owners and promoters\u003c/a>—is also set to debut soon at an unspecified date.\u003c/p>\n\u003cp>As for the owners of Luka’s, once their venue closes they’ll be taking some time off from the hustle of running a small business to focus on community work. They started \u003ca href=\"https://www.ckoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Community Kitchens\u003c/a>, which buys meals from other local restaurants and serves them to people in need with the help of mobile clinics. They’ve distributed 120,000 hot meals since the pandemic started, Mitchell says, and are getting ready to launch a new initiative called \u003ca href=\"https://www.ckoakland.org/dining-for-justice\" target=\"_blank\" rel=\"noopener noreferrer\">Dining for Justice\u003c/a>, where the participating restaurants add a 1% surcharge to checks to raise permanent, sustainable funding for these efforts.\u003c/p>\n\u003cp>Luka’s brought people from all walks of life together in an unpretentious atmosphere, and for many artists and partygoers, it’ll always hold a special place in Oakland nightlife history. But when looking back at the venue’s legacy, Mitchell doesn’t like to take much credit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The truth is, I didn’t come into this in any way with a master vision,” he says. “I was just a guy who didn’t like what I was doing before, and wanted to have a change and get involved in my community. People saw it as something going on and wanted to help. DJ Wisdom built our nightclub, and it’s just the community of people that came around, that’s what I’m most proud of, the people I’ve met and what they’ve accomplished. I managed to not burn the place down along the way. It’s everybody else who made it happen.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
"meta": {
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"rss": "https://feeds.megaphone.fm/KQINC6993880386",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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