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"content": "\u003cp>Stevie Nicks fans won’t be seeing the Fleetwood Mac frontwoman at \u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> this year after all. The musician announced today that she’s canceling all five of her 2021 live appearances, which included the Napa Valley music festival slated for Labor Day weekend Sept. 3–5.\u003c/p>\n\u003cp>“These are challenging times with challenging decisions that have to be made,” Nicks said in a statement published by \u003ca href=\"https://variety.com/2021/music/news/stevie-nicks-cancels-all-concerts-1235038786/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a>. “I want everyone to be safe and healthy and the rising Covid cases should be of concern to all of us. While I’m vaccinated, at my age, I am still being extremely cautious and for that reason have decided to skip the five performances I had planned for 2021.”\u003c/p>\n\u003cp>“Because singing and performing have been my whole life, my primary goal is to keep healthy so I can continue singing for the next decade or longer,” she added. “I’m devastated and I know the fans are disappointed, but we will look towards a brighter 2022.”\u003c/p>\n\u003cp>The singer, 73, announced her decision as conversations around safety at music festivals pick up around the world. Over 2,000 new coronavirus cases were linked to \u003ca href=\"https://djmag.com/news/over-2000-people-test-positive-covid-19-following-music-festivals-catalonia\" target=\"_blank\" rel=\"noopener noreferrer\">three recent music festivals in Catalonia, Spain\u003c/a>, raising concerns about outdoor transmission. And 1,000 cases were linked to a \u003ca href=\"https://djmag.com/news/dutch-music-festival-linked-over-1000-new-coronavirus-cases\" target=\"_blank\" rel=\"noopener noreferrer\">Dutch music festival\u003c/a> last month, despite the event requiring proof of vaccination or a negative COVID test.\u003c/p>\n\u003cp>BottleRock recently announced that either a negative COVID test with a 72-hour window or proof of at least one vaccine dose will be required for entry. But, as recent events have shown, measures such as these are not foolproof against COVID in tightly packed crowds. \u003ca href=\"https://covid.cdc.gov/covid-data-tracker/#county-view\" target=\"_blank\" rel=\"noopener noreferrer\">Most of the United States\u003c/a>, including Napa County, is at high risk of community transmission for the virus right now. Vaccinated people tend to experience fewer and less serious symptoms, although they can still transmit the virus if they become infected, and about \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\" target=\"_blank\" rel=\"noopener noreferrer\">63% of California’s population\u003c/a> is fully vaccinated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for BottleRock are sold out, and the show is expected to bring 120,000 people to Napa Valley next month. Country singer Chris Stapleton will replace Nicks as headliner, and other artists on the bill include Guns N’ Roses, Foo Fighters, Miley Cyrus and Megan Thee Stallion.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stevie Nicks fans won’t be seeing the Fleetwood Mac frontwoman at \u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> this year after all. The musician announced today that she’s canceling all five of her 2021 live appearances, which included the Napa Valley music festival slated for Labor Day weekend Sept. 3–5.\u003c/p>\n\u003cp>“These are challenging times with challenging decisions that have to be made,” Nicks said in a statement published by \u003ca href=\"https://variety.com/2021/music/news/stevie-nicks-cancels-all-concerts-1235038786/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a>. “I want everyone to be safe and healthy and the rising Covid cases should be of concern to all of us. While I’m vaccinated, at my age, I am still being extremely cautious and for that reason have decided to skip the five performances I had planned for 2021.”\u003c/p>\n\u003cp>“Because singing and performing have been my whole life, my primary goal is to keep healthy so I can continue singing for the next decade or longer,” she added. “I’m devastated and I know the fans are disappointed, but we will look towards a brighter 2022.”\u003c/p>\n\u003cp>The singer, 73, announced her decision as conversations around safety at music festivals pick up around the world. Over 2,000 new coronavirus cases were linked to \u003ca href=\"https://djmag.com/news/over-2000-people-test-positive-covid-19-following-music-festivals-catalonia\" target=\"_blank\" rel=\"noopener noreferrer\">three recent music festivals in Catalonia, Spain\u003c/a>, raising concerns about outdoor transmission. And 1,000 cases were linked to a \u003ca href=\"https://djmag.com/news/dutch-music-festival-linked-over-1000-new-coronavirus-cases\" target=\"_blank\" rel=\"noopener noreferrer\">Dutch music festival\u003c/a> last month, despite the event requiring proof of vaccination or a negative COVID test.\u003c/p>\n\u003cp>BottleRock recently announced that either a negative COVID test with a 72-hour window or proof of at least one vaccine dose will be required for entry. But, as recent events have shown, measures such as these are not foolproof against COVID in tightly packed crowds. \u003ca href=\"https://covid.cdc.gov/covid-data-tracker/#county-view\" target=\"_blank\" rel=\"noopener noreferrer\">Most of the United States\u003c/a>, including Napa County, is at high risk of community transmission for the virus right now. Vaccinated people tend to experience fewer and less serious symptoms, although they can still transmit the virus if they become infected, and about \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\" target=\"_blank\" rel=\"noopener noreferrer\">63% of California’s population\u003c/a> is fully vaccinated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for BottleRock are sold out, and the show is expected to bring 120,000 people to Napa Valley next month. Country singer Chris Stapleton will replace Nicks as headliner, and other artists on the bill include Guns N’ Roses, Foo Fighters, Miley Cyrus and Megan Thee Stallion.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "To Save Live Music, We Need to Get Vaccinated",
"headTitle": "To Save Live Music, We Need to Get Vaccinated | KQED",
"content": "\u003cp>Offspring drummer Pete Parada received an \u003ca href=\"https://www.instagram.com/p/CSE_rkVnIgL/\" target=\"_blank\" rel=\"noopener noreferrer\">outpouring of support\u003c/a> earlier this week after he announced he would be unable to tour for the foreseeable future. In an emotional Instagram post, Parada said that a medical condition he has been living with since childhood—\u003ca href=\"https://www.ninds.nih.gov/Disorders/Patient-Caregiver-Education/Fact-Sheets/Guillain-Barr%C3%A9-Syndrome-Fact-Sheet\" target=\"_blank\" rel=\"noopener noreferrer\">Guillain-Barré Syndrome\u003c/a> (GBS)—prevented him from receiving a COVID-19 vaccine, and that his band now considered him “unsafe” to work with. GBS is a rare and incurable condition that causes the body’s immune system to attack its nerves.\u003c/p>\n\u003cp>“Given my personal history and the side-effect profile of these jabs,” Parada wrote, “my doctor has advised me not to get a shot at this time. Unfortunately for me (and my family—who is hoping to keep me around a bit longer), the risks far outweigh the benefits.”\u003c/p>\n\u003cp>Recent figures suggest there may an increased risk of suffering a bout of GBS after receiving the Johnson & Johnson COVID-19 vaccine. “There have been 100 preliminary reports of GBS following vaccination,” the \u003ca href=\"https://www.fda.gov/news-events/press-announcements/coronavirus-covid-19-update-july-13-2021\" target=\"_blank\" rel=\"noopener noreferrer\">FDA reports\u003c/a>, “after approximately 12.5 million doses administered.” However, there is \u003ca href=\"https://health.clevelandclinic.org/guillain-barre-syndrome-and-covid-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\">no evidence\u003c/a> that the Pfizer or Moderna vaccines carry increased risks for GBS patients.\u003c/p>\n\u003cp>https://www.instagram.com/p/CSE_rkVnIgL/\u003c/p>\n\u003cp>“Since I am unable to comply with what is increasingly becoming an industry mandate,” Parada wrote, “it has recently been decided that I am unsafe to be around, in the studio, and on tour. I mention this because you won’t be seeing me at these upcoming shows. I also want to share my story so that anyone else experiencing the agony and isolation of getting left behind right now knows they’re not entirely alone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By Wednesday, Parada’s post had been liked almost 18,000 times, and prompted comments of love, support and vaccine-related outrage. One fan wrote, “The fear, the manipulation and coercion around [vaccines] are truly what is frightening.” Five Finger Death Punch drummer Charlie Engen commented that it was “sickening you even have to explain yourself.” Bad Wolves vocalist Tommy Vext called Parada’s predicament “a fucking disgrace,” and opined that “this all feels like the beginnings of a medical apartheid.”\u003c/p>\n\u003cp>Those are strong words in a live-music landscape that is still accommodating unvaccinated people. Parada’s announcement (and the outpouring that it prompted) directly followed a weekend in which 100,000 fans a day—including the unvaccinated—descended on the Lollapalooza festival in Chicago. Ticket holders without vaccines were permitted at the event with proof of a negative COVID test.\u003c/p>\n\u003cp>https://twitter.com/lollapalooza/status/1420865743269339143\u003c/p>\n\u003cp>The weekend before, Miami’s Rolling Loud Festival attracted daily crowds of 75,000 and had zero COVID-related restrictions for entry. “Fans will have the choice, whether or not they want to be vaccinated or mask,” festival co-founder \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/miami-gardens/article252927603.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tariq Cheriff told the \u003cem>Miami Herald\u003c/em>\u003c/a>. “That’s basically what we believe in. You got the choice and that’s it.”\u003c/p>\n\u003cp>[aside postID='arts_13900368,arts_13900770']While some of America’s most popular festivals—including Coachella, Burning Man and SXSW—have opted to postpone until 2022, many others are still forging ahead this year. COVID restrictions for attendees at each event vary and are at the discretion of the organizers. So, for example, while Napa’s \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> will require proof of vaccination or a negative COVID test, \u003ca href=\"https://www.sfoutsidelands.com/health-and-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> is—for the moment, at least—merely saying it “will follow the recommended health and safety guidelines put forth by the authorities.” \u003ca href=\"https://www.sterngrove.org/covid\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove\u003c/a> says it will have a reservation-only policy and a perimeter, but no requirement to show vaccine status at this time. It is unclear what restrictions will be in place for performers.\u003c/p>\n\u003cp>As for music venues, in California at least, the National Independent Venue Association (NIVA) reports that most of the music venues checking vaccine cards are also accepting negative COVID tests.\u003c/p>\n\u003cp>While Parada claimed that his decision to not get vaccinated was a medical one, he also shared clear anti-vax opinions later in his post. “I do not find it ethical or wise,” he wrote, “to allow those with the most power (government, corporations, organizations, employers) to dictate medical procedures to those with the least power.” Parada continued: “If it looks like half the population is having a shockingly different reaction to these jabs than was expected—it’s probably because their life experiences have actually been shockingly different.”\u003c/p>\n\u003cp>As the music industry scrambles to bring back live music, the very least fans and musicians should be doing before heading out to venues is getting vaccinated and/or checking their COVID status regularly with tests. Even then, an abundance of caution should still be exercised. The Netherlands’ Verknipt festival, which took place in mid-July, offers a cautionary example. The two-day outdoor festival required proof of vaccine or a negative test to enter, but still led to \u003ca href=\"https://www.cnbc.com/2021/07/15/music-festival-in-holland-leads-to-over-1000-covid-infections.html\" target=\"_blank\" rel=\"noopener noreferrer\">1,050 COVID infections\u003c/a>—5% of attendees caught the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Make no mistake, the social and personal freedoms we have successfully wrangled back in recent months are a direct result of the vaccine rollout. What most threatens those freedoms now is the highly transmissible delta variant which, data proves, vaccines protect against. (“The rate of breakthrough cases reported among those fully vaccinated is well below 1% in all reporting states,” according to the \u003ca href=\"https://www.nytimes.com/2021/08/03/well/live/covid-delta-variant-vaccine-symptoms.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>.) The larger barriers to the freedom of immunocompromised people aren’t COVID safety measures—they’re the dangers posed by a virus that spreads further and faster the less people are vaccinated.\u003c/p>\n\n",
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"excerpt": "Offspring drummer Pete Parada just sparked a conversation about vaccines and consent—but the issue is bigger than any one person.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Offspring drummer Pete Parada received an \u003ca href=\"https://www.instagram.com/p/CSE_rkVnIgL/\" target=\"_blank\" rel=\"noopener noreferrer\">outpouring of support\u003c/a> earlier this week after he announced he would be unable to tour for the foreseeable future. In an emotional Instagram post, Parada said that a medical condition he has been living with since childhood—\u003ca href=\"https://www.ninds.nih.gov/Disorders/Patient-Caregiver-Education/Fact-Sheets/Guillain-Barr%C3%A9-Syndrome-Fact-Sheet\" target=\"_blank\" rel=\"noopener noreferrer\">Guillain-Barré Syndrome\u003c/a> (GBS)—prevented him from receiving a COVID-19 vaccine, and that his band now considered him “unsafe” to work with. GBS is a rare and incurable condition that causes the body’s immune system to attack its nerves.\u003c/p>\n\u003cp>“Given my personal history and the side-effect profile of these jabs,” Parada wrote, “my doctor has advised me not to get a shot at this time. Unfortunately for me (and my family—who is hoping to keep me around a bit longer), the risks far outweigh the benefits.”\u003c/p>\n\u003cp>Recent figures suggest there may an increased risk of suffering a bout of GBS after receiving the Johnson & Johnson COVID-19 vaccine. “There have been 100 preliminary reports of GBS following vaccination,” the \u003ca href=\"https://www.fda.gov/news-events/press-announcements/coronavirus-covid-19-update-july-13-2021\" target=\"_blank\" rel=\"noopener noreferrer\">FDA reports\u003c/a>, “after approximately 12.5 million doses administered.” However, there is \u003ca href=\"https://health.clevelandclinic.org/guillain-barre-syndrome-and-covid-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\">no evidence\u003c/a> that the Pfizer or Moderna vaccines carry increased risks for GBS patients.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Since I am unable to comply with what is increasingly becoming an industry mandate,” Parada wrote, “it has recently been decided that I am unsafe to be around, in the studio, and on tour. I mention this because you won’t be seeing me at these upcoming shows. I also want to share my story so that anyone else experiencing the agony and isolation of getting left behind right now knows they’re not entirely alone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By Wednesday, Parada’s post had been liked almost 18,000 times, and prompted comments of love, support and vaccine-related outrage. One fan wrote, “The fear, the manipulation and coercion around [vaccines] are truly what is frightening.” Five Finger Death Punch drummer Charlie Engen commented that it was “sickening you even have to explain yourself.” Bad Wolves vocalist Tommy Vext called Parada’s predicament “a fucking disgrace,” and opined that “this all feels like the beginnings of a medical apartheid.”\u003c/p>\n\u003cp>Those are strong words in a live-music landscape that is still accommodating unvaccinated people. Parada’s announcement (and the outpouring that it prompted) directly followed a weekend in which 100,000 fans a day—including the unvaccinated—descended on the Lollapalooza festival in Chicago. Ticket holders without vaccines were permitted at the event with proof of a negative COVID test.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The weekend before, Miami’s Rolling Loud Festival attracted daily crowds of 75,000 and had zero COVID-related restrictions for entry. “Fans will have the choice, whether or not they want to be vaccinated or mask,” festival co-founder \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/miami-gardens/article252927603.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tariq Cheriff told the \u003cem>Miami Herald\u003c/em>\u003c/a>. “That’s basically what we believe in. You got the choice and that’s it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While some of America’s most popular festivals—including Coachella, Burning Man and SXSW—have opted to postpone until 2022, many others are still forging ahead this year. COVID restrictions for attendees at each event vary and are at the discretion of the organizers. So, for example, while Napa’s \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> will require proof of vaccination or a negative COVID test, \u003ca href=\"https://www.sfoutsidelands.com/health-and-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> is—for the moment, at least—merely saying it “will follow the recommended health and safety guidelines put forth by the authorities.” \u003ca href=\"https://www.sterngrove.org/covid\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove\u003c/a> says it will have a reservation-only policy and a perimeter, but no requirement to show vaccine status at this time. It is unclear what restrictions will be in place for performers.\u003c/p>\n\u003cp>As for music venues, in California at least, the National Independent Venue Association (NIVA) reports that most of the music venues checking vaccine cards are also accepting negative COVID tests.\u003c/p>\n\u003cp>While Parada claimed that his decision to not get vaccinated was a medical one, he also shared clear anti-vax opinions later in his post. “I do not find it ethical or wise,” he wrote, “to allow those with the most power (government, corporations, organizations, employers) to dictate medical procedures to those with the least power.” Parada continued: “If it looks like half the population is having a shockingly different reaction to these jabs than was expected—it’s probably because their life experiences have actually been shockingly different.”\u003c/p>\n\u003cp>As the music industry scrambles to bring back live music, the very least fans and musicians should be doing before heading out to venues is getting vaccinated and/or checking their COVID status regularly with tests. Even then, an abundance of caution should still be exercised. The Netherlands’ Verknipt festival, which took place in mid-July, offers a cautionary example. The two-day outdoor festival required proof of vaccine or a negative test to enter, but still led to \u003ca href=\"https://www.cnbc.com/2021/07/15/music-festival-in-holland-leads-to-over-1000-covid-infections.html\" target=\"_blank\" rel=\"noopener noreferrer\">1,050 COVID infections\u003c/a>—5% of attendees caught the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Make no mistake, the social and personal freedoms we have successfully wrangled back in recent months are a direct result of the vaccine rollout. What most threatens those freedoms now is the highly transmissible delta variant which, data proves, vaccines protect against. (“The rate of breakthrough cases reported among those fully vaccinated is well below 1% in all reporting states,” according to the \u003ca href=\"https://www.nytimes.com/2021/08/03/well/live/covid-delta-variant-vaccine-symptoms.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>.) The larger barriers to the freedom of immunocompromised people aren’t COVID safety measures—they’re the dangers posed by a virus that spreads further and faster the less people are vaccinated.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British vaccinologist Sarah Gilbert now has a new accolade: It’s a one-of-a-kind Barbie doll made in her image.\u003c/p>\n\u003cp>The Oxford University professor helped lead the development of the Oxford/AstraZeneca coronavirus vaccine. Last month, she was given a damehood, and now, she shares her hairstyle, professional wardrobe and dark-rimmed glasses with Mattel Inc’s new doll.\u003c/p>\n\u003cp>https://twitter.com/Reuters/status/1423101451757314049\u003c/p>\n\u003cp>Gilbert told \u003ca href=\"https://www.theguardian.com/society/2021/aug/04/vaccinologist-barbie-prof-sarah-gilbert-honoured-with-a-doll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>\u003c/a> she first found Mattel’s recognition “very strange” but hopes it inspires other young women around the world to work in science, technology, engineering and mathematics careers (STEM).\u003c/p>\n\u003cp>[aside postid='arts_13815050']“I am passionate about inspiring the next generation of girls into STEM careers and hope that children who see my Barbie will realize how vital careers in science are to help the world around us,” she said. “My wish is that my doll will show children careers they may not be aware of, like a vaccinologist.”\u003c/p>\n\u003ch3>Six women are being honored with Barbies\u003c/h3>\n\u003cp>Gilbert is one of the six women Mattel Inc has recognized as role models in the fight against COVID-19. According to the \u003ca href=\"https://corporate.mattel.com/news/mattel-once-again-says-thankyouheroes-by-supporting-first-responders-childrens-foundation-and-honoring-global-frontline-medical-workers-with-one-of-a-kind-barbie-dolls\" target=\"_blank\" rel=\"noopener noreferrer\">toymaker\u003c/a>, the five other honorees are U.S. health care workers Dr. Audrey Sue Cruz and emergency room nurse Amy O’Sullivan, Canadian doctor and advocate against systemic racism in health care Chicka Stacy Oriuwa, Brazilian biomedical researcher Dr. Jaqueline Goes de Jesus and Australian doctor and protective gown developer Kirby White.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Barbie recognizes that all frontline workers have made tremendous sacrifices when confronting the pandemic and the challenges it heightened,” said Lisa McKnight, senior vice president and global head of Barbie and Dolls at Mattel. “To shine a light on their efforts, we are sharing their stories.”\u003c/p>\n\u003cp>She added that she hopes the new launch “inspires the next generation to take after these heroes.”\u003c/p>\n\u003cfigure id=\"attachment_13900776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1233399583_wide-54f2a2a572a81f2012b31b54adae9af61ebd3bd3-800x450.jpg\" alt=\"Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image. \u003ccite>(Steve Parsons/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Oxford/AstraZeneca vaccine co-developer has been producing and testing vaccines for over a decade, according to her \u003ca href=\"https://www.ox.ac.uk/news-and-events/find-an-expert/professor-sarah-gilbert\" target=\"_blank\" rel=\"noopener noreferrer\">Oxford University profile\u003c/a>. And just last month, the now widely available vaccine \u003ca href=\"https://twitter.com/UniofOxford/status/1421096992881659910?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1421096992881659910%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.washingtonpost.com%2Fworld%2F2021%2F08%2F04%2Fvaccinologist-barbie-sarah-gilbert-coronavirus%2F\" target=\"_blank\" rel=\"noopener noreferrer\">set a distribution\u003c/a> milestone of 1 billion doses.\u003c/p>\n\u003cp>As of this year, only \u003ca href=\"https://www.stemwomen.co.uk/blog/2021/01/women-in-stem-percentages-of-women-in-stem-statistics\" target=\"_blank\" rel=\"noopener noreferrer\">35% of STEM students are women\u003c/a>, according to STEM Women, a U.K. organization dedicated to increasing the number of women in the STEM workforce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> Xcaret Nuñez is an intern with NPR’s News Desk\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mattel%27s+Barbie+Turns+Women+Of+Science%2C+Including+COVID+Vaccine+Developer%2C+Into+Dolls&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I am passionate about inspiring the next generation of girls into STEM careers and hope that children who see my Barbie will realize how vital careers in science are to help the world around us,” she said. “My wish is that my doll will show children careers they may not be aware of, like a vaccinologist.”\u003c/p>\n\u003ch3>Six women are being honored with Barbies\u003c/h3>\n\u003cp>Gilbert is one of the six women Mattel Inc has recognized as role models in the fight against COVID-19. According to the \u003ca href=\"https://corporate.mattel.com/news/mattel-once-again-says-thankyouheroes-by-supporting-first-responders-childrens-foundation-and-honoring-global-frontline-medical-workers-with-one-of-a-kind-barbie-dolls\" target=\"_blank\" rel=\"noopener noreferrer\">toymaker\u003c/a>, the five other honorees are U.S. health care workers Dr. Audrey Sue Cruz and emergency room nurse Amy O’Sullivan, Canadian doctor and advocate against systemic racism in health care Chicka Stacy Oriuwa, Brazilian biomedical researcher Dr. Jaqueline Goes de Jesus and Australian doctor and protective gown developer Kirby White.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Barbie recognizes that all frontline workers have made tremendous sacrifices when confronting the pandemic and the challenges it heightened,” said Lisa McKnight, senior vice president and global head of Barbie and Dolls at Mattel. “To shine a light on their efforts, we are sharing their stories.”\u003c/p>\n\u003cp>She added that she hopes the new launch “inspires the next generation to take after these heroes.”\u003c/p>\n\u003cfigure id=\"attachment_13900776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1233399583_wide-54f2a2a572a81f2012b31b54adae9af61ebd3bd3-800x450.jpg\" alt=\"Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image. \u003ccite>(Steve Parsons/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Oxford/AstraZeneca vaccine co-developer has been producing and testing vaccines for over a decade, according to her \u003ca href=\"https://www.ox.ac.uk/news-and-events/find-an-expert/professor-sarah-gilbert\" target=\"_blank\" rel=\"noopener noreferrer\">Oxford University profile\u003c/a>. And just last month, the now widely available vaccine \u003ca href=\"https://twitter.com/UniofOxford/status/1421096992881659910?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1421096992881659910%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.washingtonpost.com%2Fworld%2F2021%2F08%2F04%2Fvaccinologist-barbie-sarah-gilbert-coronavirus%2F\" target=\"_blank\" rel=\"noopener noreferrer\">set a distribution\u003c/a> milestone of 1 billion doses.\u003c/p>\n\u003cp>As of this year, only \u003ca href=\"https://www.stemwomen.co.uk/blog/2021/01/women-in-stem-percentages-of-women-in-stem-statistics\" target=\"_blank\" rel=\"noopener noreferrer\">35% of STEM students are women\u003c/a>, according to STEM Women, a U.K. organization dedicated to increasing the number of women in the STEM workforce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> Xcaret Nuñez is an intern with NPR’s News Desk\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mattel%27s+Barbie+Turns+Women+Of+Science%2C+Including+COVID+Vaccine+Developer%2C+Into+Dolls&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "More California Music Venues Require Vaccinations, Negative COVID Tests for Entry",
"headTitle": "More California Music Venues Require Vaccinations, Negative COVID Tests for Entry | KQED",
"content": "\u003cp>Like most performing artists, \u003ca href=\"https://www.instagram.com/lilthowwow/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Thow Wow\u003c/a> couldn’t wait to get back out there. The Oakland DJ, real name Jonathan Anabo, had to put a pause on gigs during the COVID-19 shutdown. Once he was fully vaccinated, and Governor Gavin Newsom lifted California’s restrictions in June, Anabo began spinning records at local bars and venues again.\u003c/p>\n\u003cp>But a wake-up call came earlier this month when he started feeling sick and tested positive for COVID-19. He knows of several other breakthrough cases among vaccinated people in his circle. Indeed, \u003ca href=\"https://www.kqed.org/news/11881585/with-the-delta-variant-spreading-fast-is-it-time-to-mask-up-again\" target=\"_blank\" rel=\"noopener noreferrer\">COVID cases are rising\u003c/a> nationally and in the Bay Area.\u003c/p>\n\u003cp>Fully vaccinated people tend to experience fewer, less severe \u003ca href=\"https://www.kqed.org/news/11882027/worried-about-breakthrough-covid-cases-heres-what-to-know\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms, and they typically don’t require hospitalization\u003c/a>. Still, the trend has alarmed health experts, and California public health officials once again recommend masking, regardless of vaccine status, in \u003ca href=\"https://www.cbs8.com/article/news/health/coronavirus/vaccine/california-health-officials-join-cdc-recommend-mask-wearing-indoors/509-f052f7e4-bb31-4dd7-8fb2-a91ddc9e396b\" target=\"_blank\" rel=\"noopener noreferrer\">all indoor public settings\u003c/a>.\u003c/p>\n\u003cp>“Ever since they dropped the mask mandate and were more lax about it—I feel like they just did it too soon,” Anabo says of the state’s reopening in June.\u003c/p>\n\u003cp>Anabo is feeling better and has completed his doctor-recommended 10-day quarantine. But as the more contagious \u003ca href=\"https://www.kqed.org/news/11881585/with-the-delta-variant-spreading-fast-is-it-time-to-mask-up-again\" target=\"_blank\" rel=\"noopener noreferrer\">Delta variant\u003c/a> continues to spread, he’s resolved to only play outdoor parties for the foreseeable future, and he supports the idea of bars and music venues requiring proof of vaccination for entry.\u003c/p>\n\u003cp>“I would encourage that. How can you be a business, especially a POC business, and you’re endangering your patrons, your workers?” he says, adding that he’s also sympathetic to the financial struggles small venues face. “What will you have left after everybody gets sick?” [aside postid='arts_13898639']\u003c/p>\n\u003cp>Vaccination requirements for businesses has been a controversial topic since California lifted restrictions. In May, Oakland bar and music venue Eli’s Mile High Club became one of the first to require patrons to present vaccine cards at the door along with their IDs. And although the new policy was greeted with relief from many COVID-cautious customers, others slammed the bar on social media and even \u003ca href=\"https://www.sfgate.com/food/article/Oakland-Elis-Mile-High-Club-vaccine-card-contact-16189454.php\" target=\"_blank\" rel=\"noopener noreferrer\">questioned its punk credibility\u003c/a>.\u003c/p>\n\u003cp>Now, Eli’s seems to have been ahead of the curve. Experiences like Anabo’s are why the San Francisco Bar Owner Alliance is now requiring proof of vaccination or a negative COVID test for indoor service at its 300 participating bars. And music venues and nightclubs like Rickshaw Stop, Oasis, F8, The Independent and Bill Graham Civic Auditorium are doing the same.\u003c/p>\n\u003cp>The San Francisco Venue Coalition (SFVC) and the California chapter of the National Independent Venue Association (NIVA) haven’t yet adopted a formal position, but organizers say that most of their participating music venues are already either checking vaccine cards and negative COVID tests or are planning on doing so. [aside postid='news_11882487']\u003c/p>\n\u003cp>“It’s a very active, developing situation,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium in San Francisco and an organizer with both SFVC and NIVA. Lowdermilk says he supports the San Francisco Bar Owner Alliance’s policy, and is working with other music venue leaders in San Francisco on an official statement.\u003c/p>\n\u003cp>“We are primarily public assembly experts at keeping people safe and healthy,” he adds, noting the way venues have nimbly adapted to threats of mass shootings in previous years. “And that’s not changing with this pandemic.”\u003c/p>\n\u003cp>Another Planet Entertainment, the San Francisco company that operates Bill Graham Civic Auditorium and several other prominent Bay Area venues, checked for vaccination status at a recent show at Berkeley’s Greek Theatre. “There was a very small, vocal group that had objections,” Lowdermilk says. “But I think the wide, wide majority of people get it. They like it.”\u003c/p>\n\u003cfigure id=\"attachment_13900389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/071521RickshawStop_003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Strachota, talent buyer at the Rickshaw Stop, says most customers appreciate that the venue requires proof of vaccine for entry. \u003ccite>(Dirk Wise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NIVA California lobbyist Alex Torres says many venues in Sacramento and Los Angeles are also starting to admit vaccinated patrons only. In fact, for some places, rather than hamper business, the policy has led to more ticket sales. “In the Northern California, Sacramento Valley region, it’s actually really helped pick up business for some of the local venues because of folks wanting to seek out a safe place to go to a show,” Torres explains.\u003c/p>\n\u003cp>That’s a hopeful sign for an industry still struggling from the financial fallout of the pandemic. Dan Strachota, talent buyer at the Rickshaw Stop, says he’s gotten pushback on the policy from a couple of talent agents and anti-vaxxers on Twitter. But for the most part, artists, workers and show-goers appreciate being in an all-vaccinated room.\u003c/p>\n\u003cp>After a year with no business, mounting debt and \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">long-delayed federal aid\u003c/a>, the last thing independent venues need is another shutdown, Strachota says. That means we all have a collective responsibility to mitigate the spread of the virus.\u003c/p>\n\u003cp>“We’re on a precipice again,” Strachota says. “And if we don’t get this done now we’re headed for another shutdown. We’ve gotten hope again. It’d be so horrible to see it dashed.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most performing artists, \u003ca href=\"https://www.instagram.com/lilthowwow/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Thow Wow\u003c/a> couldn’t wait to get back out there. The Oakland DJ, real name Jonathan Anabo, had to put a pause on gigs during the COVID-19 shutdown. Once he was fully vaccinated, and Governor Gavin Newsom lifted California’s restrictions in June, Anabo began spinning records at local bars and venues again.\u003c/p>\n\u003cp>But a wake-up call came earlier this month when he started feeling sick and tested positive for COVID-19. He knows of several other breakthrough cases among vaccinated people in his circle. Indeed, \u003ca href=\"https://www.kqed.org/news/11881585/with-the-delta-variant-spreading-fast-is-it-time-to-mask-up-again\" target=\"_blank\" rel=\"noopener noreferrer\">COVID cases are rising\u003c/a> nationally and in the Bay Area.\u003c/p>\n\u003cp>Fully vaccinated people tend to experience fewer, less severe \u003ca href=\"https://www.kqed.org/news/11882027/worried-about-breakthrough-covid-cases-heres-what-to-know\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms, and they typically don’t require hospitalization\u003c/a>. Still, the trend has alarmed health experts, and California public health officials once again recommend masking, regardless of vaccine status, in \u003ca href=\"https://www.cbs8.com/article/news/health/coronavirus/vaccine/california-health-officials-join-cdc-recommend-mask-wearing-indoors/509-f052f7e4-bb31-4dd7-8fb2-a91ddc9e396b\" target=\"_blank\" rel=\"noopener noreferrer\">all indoor public settings\u003c/a>.\u003c/p>\n\u003cp>“Ever since they dropped the mask mandate and were more lax about it—I feel like they just did it too soon,” Anabo says of the state’s reopening in June.\u003c/p>\n\u003cp>Anabo is feeling better and has completed his doctor-recommended 10-day quarantine. But as the more contagious \u003ca href=\"https://www.kqed.org/news/11881585/with-the-delta-variant-spreading-fast-is-it-time-to-mask-up-again\" target=\"_blank\" rel=\"noopener noreferrer\">Delta variant\u003c/a> continues to spread, he’s resolved to only play outdoor parties for the foreseeable future, and he supports the idea of bars and music venues requiring proof of vaccination for entry.\u003c/p>\n\u003cp>“I would encourage that. How can you be a business, especially a POC business, and you’re endangering your patrons, your workers?” he says, adding that he’s also sympathetic to the financial struggles small venues face. “What will you have left after everybody gets sick?” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vaccination requirements for businesses has been a controversial topic since California lifted restrictions. In May, Oakland bar and music venue Eli’s Mile High Club became one of the first to require patrons to present vaccine cards at the door along with their IDs. And although the new policy was greeted with relief from many COVID-cautious customers, others slammed the bar on social media and even \u003ca href=\"https://www.sfgate.com/food/article/Oakland-Elis-Mile-High-Club-vaccine-card-contact-16189454.php\" target=\"_blank\" rel=\"noopener noreferrer\">questioned its punk credibility\u003c/a>.\u003c/p>\n\u003cp>Now, Eli’s seems to have been ahead of the curve. Experiences like Anabo’s are why the San Francisco Bar Owner Alliance is now requiring proof of vaccination or a negative COVID test for indoor service at its 300 participating bars. And music venues and nightclubs like Rickshaw Stop, Oasis, F8, The Independent and Bill Graham Civic Auditorium are doing the same.\u003c/p>\n\u003cp>The San Francisco Venue Coalition (SFVC) and the California chapter of the National Independent Venue Association (NIVA) haven’t yet adopted a formal position, but organizers say that most of their participating music venues are already either checking vaccine cards and negative COVID tests or are planning on doing so. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a very active, developing situation,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium in San Francisco and an organizer with both SFVC and NIVA. Lowdermilk says he supports the San Francisco Bar Owner Alliance’s policy, and is working with other music venue leaders in San Francisco on an official statement.\u003c/p>\n\u003cp>“We are primarily public assembly experts at keeping people safe and healthy,” he adds, noting the way venues have nimbly adapted to threats of mass shootings in previous years. “And that’s not changing with this pandemic.”\u003c/p>\n\u003cp>Another Planet Entertainment, the San Francisco company that operates Bill Graham Civic Auditorium and several other prominent Bay Area venues, checked for vaccination status at a recent show at Berkeley’s Greek Theatre. “There was a very small, vocal group that had objections,” Lowdermilk says. “But I think the wide, wide majority of people get it. They like it.”\u003c/p>\n\u003cfigure id=\"attachment_13900389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/071521RickshawStop_003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Strachota, talent buyer at the Rickshaw Stop, says most customers appreciate that the venue requires proof of vaccine for entry. \u003ccite>(Dirk Wise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NIVA California lobbyist Alex Torres says many venues in Sacramento and Los Angeles are also starting to admit vaccinated patrons only. In fact, for some places, rather than hamper business, the policy has led to more ticket sales. “In the Northern California, Sacramento Valley region, it’s actually really helped pick up business for some of the local venues because of folks wanting to seek out a safe place to go to a show,” Torres explains.\u003c/p>\n\u003cp>That’s a hopeful sign for an industry still struggling from the financial fallout of the pandemic. Dan Strachota, talent buyer at the Rickshaw Stop, says he’s gotten pushback on the policy from a couple of talent agents and anti-vaxxers on Twitter. But for the most part, artists, workers and show-goers appreciate being in an all-vaccinated room.\u003c/p>\n\u003cp>After a year with no business, mounting debt and \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">long-delayed federal aid\u003c/a>, the last thing independent venues need is another shutdown, Strachota says. That means we all have a collective responsibility to mitigate the spread of the virus.\u003c/p>\n\u003cp>“We’re on a precipice again,” Strachota says. “And if we don’t get this done now we’re headed for another shutdown. We’ve gotten hope again. It’d be so horrible to see it dashed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "An Anti-Vaccine Film Targeted to Black Americans Spreads False Information",
"headTitle": "An Anti-Vaccine Film Targeted to Black Americans Spreads False Information | KQED",
"content": "\u003cp>When a filmmaker asked medical historian Naomi Rogers to appear in a new documentary, the \u003ca href=\"https://medicine.yale.edu/profile/naomi_rogers/\" target=\"_blank\" rel=\"noopener noreferrer\">Yale professor\u003c/a> didn’t blink. She had done these “talking head” interviews many times before.\u003c/p>\n\u003cp>She assumed her comments would end up in a straightforward documentary that addressed some of the most pressing concerns of the pandemic, such as the legacy of racism in medicine and how that plays into current mistrust in some communities of color. The subject of vaccines was also mentioned, but the focus wasn’t clear to Rogers.\u003c/p>\n\u003cp>The director wanted something more polished than a Zoom call, so a well-outfitted camera crew arrived at Rogers’ home in Connecticut in the fall. They showed up wearing masks and gloves. Before the interview, crew members cleaned the room thoroughly. Then they spent about an hour interviewing Rogers. She discussed her research and in particular controversial figures such as Dr. James Marion Sims, who was influential in the field of gynecology but who \u003ca href=\"https://www.npr.org/transcripts/513764158\" target=\"_blank\" rel=\"noopener noreferrer\">performed experimental surgery on enslaved Black women\u003c/a> during the 1800s without anesthesia.\u003c/p>\n\u003cp>[aside postid='arts_13884294']“We were talking about issues of racism and experimentation, and they seemed to be handled appropriately,” Rogers recalls. At the time, there were few indications that anything was out of the ordinary—except one. During a short break, she asked who else was being interviewed for the film. The producer’s response struck Rogers as curiously vague.\u003c/p>\n\u003cp>“They said, ‘Well, there’s ‘a guy’ in New York, and we talked to ‘somebody in New Jersey, and California,’ ” Rogers told NPR. “I thought it’s so odd that they wouldn’t tell me who these people were.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t until this March that Rogers would stumble upon the answer.\u003c/p>\n\u003cp>She received an email from a group called Children’s Health Defense—prominent in the anti-vaccine movement—promoting its new film, \u003cem>Medical Racism: The New Apartheid\u003c/em>.\u003c/p>\n\u003cp>When she clicked on the link and began watching the 57-minute film, she was shocked to discover \u003cem>this \u003c/em>was the movie she had sat down for back in October.\u003c/p>\n\u003cp>“I was naive, certainly, in assuming that this was actually a documentary, which I would say it is not. I think that it is an advocacy piece for anti-vaxxers,” Rogers says. “I’m still very angry. I feel that I was used.”\u003c/p>\n\u003cp>The free, online film is the latest effort by Robert F. Kennedy Jr., the founder of Children’s Health Defense. (He’s the son of the former U.S. Attorney General Robert “Bobby” Kennedy and nephew of President John F. Kennedy.) With this film, Kennedy and his allies in the anti-vaccine movement \u003ca href=\"https://www.factcheck.org/2021/03/scicheck-rfk-jr-video-pushes-known-vaccine-misrepresentations/\" target=\"_blank\" rel=\"noopener noreferrer\">resurface and promote disproven claims\u003c/a> about the dangers of vaccines, but it’s aimed squarely at a specific demographic: Black Americans.\u003c/p>\n\u003cp>The film draws a line from the real and disturbing history of racism and atrocities in the medical field—such as the \u003ca href=\"https://www.cdc.gov/tuskegee/timeline.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Tuskegee syphilis study\u003c/a>—to interviews with anti-vaccine activists who warn communities of color to be suspicious of modern-day vaccines.\u003c/p>\n\u003cp>At one point in \u003cem>Medical Racism\u003c/em>, viewers are warned that “in Black communities something is very sinister” and “the same thing that happened in the 1930s \u003ca href=\"https://www.npr.org/sections/itsallpolitics/2015/08/14/432080520/fact-check-was-planned-parenthood-started-to-control-the-black-population\" target=\"_blank\" rel=\"noopener noreferrer\">during the eugenics movement\u003c/a>” is happening again.\u003c/p>\n\u003cp>There is lengthy discussion of the \u003ca href=\"https://www.cdc.gov/vaccinesafety/concerns/autism.html\" target=\"_blank\" rel=\"noopener noreferrer\">thoroughly disproven link\u003c/a> between \u003ca href=\"https://academic.oup.com/cid/article/48/4/456/284219\" target=\"_blank\" rel=\"noopener noreferrer\">autism and vaccines\u003c/a>. For example, the film references a study from the \u003ca href=\"https://pediatrics.aappublications.org/content/113/2/259\" target=\"_blank\" rel=\"noopener noreferrer\">Centers for Disease Control and Prevention \u003c/a>about the measles, mumps and rubella vaccine and autism rates as evidence that African American children are being particularly harmed, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-reviews/anti-vaccine-doc-vaxxed-a-882651/\" target=\"_blank\" rel=\"noopener noreferrer\">but in reality the study did not conclude that African Americans\u003c/a> are at increased risk of autism because of vaccination.\u003c/p>\n\u003cp>The movie then displays a chart claiming to use that same CDC data—obtained through a Freedom of Information Act request—to make a connection between vaccinating Black children and autism risk. The findings in the chart closely resemble another study sometimes mentioned by anti-vaccine activists, but the medical journal \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4183946/\" target=\"_blank\" rel=\"noopener noreferrer\">later retracted\u003c/a> the study, because of “undeclared competing interests on the part of the author” and “concerns about the validity of the methods and statistical analysis.” (That study’s author was also a paid independent contractor for Kennedy’s group as of 2020 and sits \u003ca href=\"https://childrenshealthdefense.org/about-us/board-directors/\" target=\"_blank\" rel=\"noopener noreferrer\">on its board of directors\u003c/a>.)\u003c/p>\n\u003cp>The film also\u003ca href=\"https://newsnetwork.mayoclinic.org/discussion/mayo-clinic-discovers-african-americans-respond-better-to-rubella-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\"> brings up a 2014 study from the Mayo Clinic\u003c/a> that showed Somali Americans and African Americans have a more robust immune response to the rubella vaccine than Caucasians and Hispanic Americans. One of those interviewed in Kennedy’s film then asks, “So if you have that process that could be caused by vaccines, why wouldn’t there be a link between vaccines and developmental delays?”\u003c/p>\n\u003cp>But the study’s own author and leading vaccine researcher, Dr. Gregory Poland, says this conjecture is not accurate.\u003c/p>\n\u003cp>[aside postid='arts_13894324']According to a statement provided to NPR by the Mayo Clinic, the study demonstrated “higher protective immune responses in African-American subjects with no evidence of increased vaccine side effects” and that any claim of “‘increased vulnerability’ among African-Americans who receive the rubella vaccine is simply not supported by either this study or the science.”\u003c/p>\n\u003cp>For her part, Rogers, the Yale professor, only appears for about 14 seconds in the film. Her quotes are accurate. But her remarks are embedded in a wider narrative that she had “enormous problems with”—namely that the anti-vaccine movement is heroically engaged in a new civil rights campaign, one meant to stop experimentation on the Black community.\u003c/p>\n\u003cp>Rogers says the film uses many of the ideas that she holds “passionately, like health disparities, fighting racism in health, working against discrimination, and it’s been twisted for the purposes of this anti-vax movement.”\u003c/p>\n\u003cp>Another credible expert from mainstream medicine also appears in the film: \u003ca href=\"https://www.nmanet.org/page/OliverBrooks-Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Oliver Brooks\u003c/a>, the immediate past president of the \u003ca href=\"https://www.nmanet.org\" target=\"_blank\" rel=\"noopener noreferrer\">National Medical Association\u003c/a>. The group is the largest organization representing African American physicians in the United States.\u003c/p>\n\u003cp>Brooks says he agreed to be in the film because he wanted to provide balance, but, after seeing it, he now regrets doing the interview.\u003c/p>\n\u003cp>“The crux of the documentary is generally don’t get vaccinated,” Brooks told NPR in a recent interview. “There \u003cem>is \u003c/em>an understandable concern in the African American community regarding vaccines—however, in the end, my position is you look past those, have an understanding of those and still get vaccinated … That nuance was not felt or presented in the documentary.”\u003c/p>\n\u003cp>Kennedy’s group released the film in early March, just as the COVID-19 vaccine was becoming widely available to the American public.\u003c/p>\n\u003cp>The movie begins with a string of ominous news clips about the pandemic and the COVID-19 vaccines and includes short interviews with people of color who talk about COVID-19 being “propaganda” and why they don’t trust the vaccine. Kennedy also appears to offer \u003ca href=\"https://childrenshealthdefense.org/transcripts/medical-racism-the-new-apartheid/\" target=\"_blank\" rel=\"noopener noreferrer\">a warning to viewers\u003c/a> about vaccines: “Don’t listen to me. Don’t listen to Tony Fauci. Hey, and don’t listen to your doctor.”\u003c/p>\n\u003cp>In addition to Kennedy, other producers helped make and market the film, including a prominent figure in the Nation of Islam, and a wealthy entrepreneur who recently made headlines when a private school he co-founded in Miami \u003ca href=\"https://www.nytimes.com/2021/05/02/us/miami-centner-academy-coronavirus-vaccine.html\" target=\"_blank\" rel=\"noopener noreferrer\">prohibited teachers\u003c/a> who got the COVID-19 vaccine from returning to the classroom.\u003c/p>\n\u003cp>Children’s Health Defense made one of the film’s co-producers, Curtis Cost, available to talk with NPR. He is a longtime anti-vaccine activist, who has previously \u003ca href=\"https://www.voiceamerica.com/episode/103726/the-hivaids-hoax\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> that “viruses do not cause anything, it’s a hoax, it’s a myth … whether you are talking about HIV virus, the flu virus or any other virus.”\u003c/p>\n\u003cp>Cost says the film does not explicitly tell people to refuse the COVID-19 vaccine, but it “goes all the way to the present experimentations and bad things have been done by the medical establishment in America and in Africa and other parts of the world.”\u003c/p>\n\u003cp>“The film basically wants people to recognize this history that leads right into the present, and especially when they’re facing decisions about whether they should take any vaccine, including COVID,” he says.\u003c/p>\n\u003cp>In an email statement, a spokesperson for Children’s Health Defense denies that the film is misinformation and says it contains “peer reviewed science and historical data.”\u003c/p>\n\u003cp>[aside postid='arts_13881679']The movie is “a classic example of the anti-vaccine industry with a highly targeted message using sophisticated marketing techniques and building alliances with affiliate organizations,” says Imran Ahmed, chief executive officer of the nonprofit Center for Countering Digital Hate, which has \u003ca href=\"https://252f2edd-1c8b-49f5-9bb2-cb57bb47e4ba.filesusr.com/ugd/f4d9b9_fddbfb2a0c05461cb4bdce2892f3cad0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extensively researched figures such as Kennedy\u003c/a>.\u003c/p>\n\u003cp>“They’ve seen the opportunity to target a specifically African American audience,” he says, during a particular moment of heightened national attention on racial injustices and health disparities.\u003c/p>\n\u003cp>Black Americans have \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/covid-data/investigations-discovery/hospitalization-death-by-race-ethnicity.html\" target=\"_blank\" rel=\"noopener noreferrer\">twice the risk of dying from COVID-19\u003c/a> compared with white Americans. Racial disparities in \u003ca href=\"https://khn.org/news/article/covid-vaccination-stark-racial-disparities-persist-state-level-cdc-data/\" target=\"_blank\" rel=\"noopener noreferrer\">vaccination uptake persist\u003c/a> across the United States.\u003c/p>\n\u003cp>While there are \u003ca href=\"https://www.npr.org/sections/health-shots/2021/04/26/989962041/why-black-and-latino-people-still-lag-on-covid-vaccines-and-how-to-fix-it\" target=\"_blank\" rel=\"noopener noreferrer\">efforts \u003c/a>to improve access to the vaccine, media coverage has also focused heavily on historical reasons for vaccine skepticism—too much, \u003ca href=\"https://www.npr.org/sections/health-shots/2021/03/23/974059870/stop-blaming-tuskegee-critics-say-its-not-an-excuse-for-current-medical-racism\" target=\"_blank\" rel=\"noopener noreferrer\">some\u003c/a> scholars argue, when the focus should be on how Black Americans experience the impact of systemic racism in health care today—and how to fix those problems and improve trust.\u003c/p>\n\u003cp>“We’re in this moment where we’re having some necessary discussions about health equity,” says Victor Agbafe, a medical student at the University of Michigan. “It’s not a good thing to sort of exploit that as a means to undermine trust in the vaccine today, instead of focusing on how we can make the vaccine more accessible for all communities.”\u003c/p>\n\u003cp>Agbafe, who helps lead his school’s Black medical student association, was surprised to get an email from Children’s Health Defense asking him to promote the movie among his peers.\u003c/p>\n\u003cp>When it was released, the film did not seem to gain much traction on major social media platforms such as Twitter, although tracking how often this kind of video is being shared privately can be difficult, says \u003ca href=\"https://www.kolinakoltai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kolina Koltai\u003c/a>, a University of Washington researcher who studies the anti-vaccine movement online.\u003c/p>\n\u003cp>But Kennedy’s anti-vaccine activities during the pandemic involve more than this movie.\u003c/p>\n\u003cp>In February, he \u003ca href=\"https://apnews.com/article/rjf-jr-banned-instagram-vaccine-misinfo-d72913572f04ec9b23cec58881bc32d9\" target=\"_blank\" rel=\"noopener noreferrer\">was banned\u003c/a> from Instagram for posting misinformation on vaccines, but he still has a home on Facebook and Twitter. Ahmed’s organization has labeled Kennedy one of the \u003ca href=\"https://www.npr.org/2021/05/13/996570855/disinformation-dozen-test-facebooks-twitters-ability-to-curb-vaccine-hoaxes\" target=\"_blank\" rel=\"noopener noreferrer\">“disinformation dozen”\u003c/a>—a group of people responsible for 65% of the shares of anti-vaccine misinformation on social media platforms.\u003c/p>\n\u003cp>In a recent \u003ca href=\"https://childrenshealthdefense.org/defender/webinar-rfk-jr-medical-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">webinar\u003c/a> about the film, Kennedy said those who agree with the film need to use “the tools of advocacy that Martin Luther King Jr. talked about” and promote it “guerilla-style” against the “darkening cloud of totalitarianism.”\u003c/p>\n\u003cp>Although more than half of American adults have gotten the COVID-19 vaccine, demand is falling fast, and polls \u003ca href=\"https://www.kff.org/coronavirus-covid-19/poll-finding/kff-covid-19-vaccine-monitor-may-2021/\">show\u003c/a> almost one-third of adults still either want to “wait and see” or do not want to get the shot. When asked why, many say the vaccine is unsafe, based on false conspiracy theories.\u003c/p>\n\u003cp>[aside postid='arts_13891832']\u003cem>“\u003c/em>I see the downstream ripple effects of disinformation every day in practice, every day in the patient’s lives I treat,” says \u003ca href=\"https://www.linkedin.com/in/atul-nakhasi/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Atul Nakhasi\u003c/a> with the Los Angeles County Department of Health Services and co-founder of the online campaign \u003ca href=\"https://thisisourshot.info/\" target=\"_blank\" rel=\"noopener noreferrer\">#ThisIsOurShot\u003c/a>, which aims to encourage trust in the COVID-19 vaccine.\u003c/p>\n\u003cp>“We know people have uncertainties, and we need to acknowledge that and have humble, respectful conversations, but for someone to actively subvert that trust is unconscionable,” Nakhasi says.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.counterhate.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Countering Digital Hate\u003c/a>, the ideal strategy for stopping the spread of online misinformation is to cut it off at the source: meaning “deplatform” the most notorious spreaders of that information so they can’t gain a following on social media in the first place. But Ahmed says that all too often, tech companies don’t take those steps themselves. In that case, the next best tactic is to try to “inoculate” people against false and misleading claims.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You tell people in advance, ‘Hey, something terrible is happening, be careful, they’re targeting you,’ ” Ahmed says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Anti-Vaccine+Film+Targeted+To+Black+Americans+Spreads+False+Information&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When a filmmaker asked medical historian Naomi Rogers to appear in a new documentary, the \u003ca href=\"https://medicine.yale.edu/profile/naomi_rogers/\" target=\"_blank\" rel=\"noopener noreferrer\">Yale professor\u003c/a> didn’t blink. She had done these “talking head” interviews many times before.\u003c/p>\n\u003cp>She assumed her comments would end up in a straightforward documentary that addressed some of the most pressing concerns of the pandemic, such as the legacy of racism in medicine and how that plays into current mistrust in some communities of color. The subject of vaccines was also mentioned, but the focus wasn’t clear to Rogers.\u003c/p>\n\u003cp>The director wanted something more polished than a Zoom call, so a well-outfitted camera crew arrived at Rogers’ home in Connecticut in the fall. They showed up wearing masks and gloves. Before the interview, crew members cleaned the room thoroughly. Then they spent about an hour interviewing Rogers. She discussed her research and in particular controversial figures such as Dr. James Marion Sims, who was influential in the field of gynecology but who \u003ca href=\"https://www.npr.org/transcripts/513764158\" target=\"_blank\" rel=\"noopener noreferrer\">performed experimental surgery on enslaved Black women\u003c/a> during the 1800s without anesthesia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We were talking about issues of racism and experimentation, and they seemed to be handled appropriately,” Rogers recalls. At the time, there were few indications that anything was out of the ordinary—except one. During a short break, she asked who else was being interviewed for the film. The producer’s response struck Rogers as curiously vague.\u003c/p>\n\u003cp>“They said, ‘Well, there’s ‘a guy’ in New York, and we talked to ‘somebody in New Jersey, and California,’ ” Rogers told NPR. “I thought it’s so odd that they wouldn’t tell me who these people were.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t until this March that Rogers would stumble upon the answer.\u003c/p>\n\u003cp>She received an email from a group called Children’s Health Defense—prominent in the anti-vaccine movement—promoting its new film, \u003cem>Medical Racism: The New Apartheid\u003c/em>.\u003c/p>\n\u003cp>When she clicked on the link and began watching the 57-minute film, she was shocked to discover \u003cem>this \u003c/em>was the movie she had sat down for back in October.\u003c/p>\n\u003cp>“I was naive, certainly, in assuming that this was actually a documentary, which I would say it is not. I think that it is an advocacy piece for anti-vaxxers,” Rogers says. “I’m still very angry. I feel that I was used.”\u003c/p>\n\u003cp>The free, online film is the latest effort by Robert F. Kennedy Jr., the founder of Children’s Health Defense. (He’s the son of the former U.S. Attorney General Robert “Bobby” Kennedy and nephew of President John F. Kennedy.) With this film, Kennedy and his allies in the anti-vaccine movement \u003ca href=\"https://www.factcheck.org/2021/03/scicheck-rfk-jr-video-pushes-known-vaccine-misrepresentations/\" target=\"_blank\" rel=\"noopener noreferrer\">resurface and promote disproven claims\u003c/a> about the dangers of vaccines, but it’s aimed squarely at a specific demographic: Black Americans.\u003c/p>\n\u003cp>The film draws a line from the real and disturbing history of racism and atrocities in the medical field—such as the \u003ca href=\"https://www.cdc.gov/tuskegee/timeline.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Tuskegee syphilis study\u003c/a>—to interviews with anti-vaccine activists who warn communities of color to be suspicious of modern-day vaccines.\u003c/p>\n\u003cp>At one point in \u003cem>Medical Racism\u003c/em>, viewers are warned that “in Black communities something is very sinister” and “the same thing that happened in the 1930s \u003ca href=\"https://www.npr.org/sections/itsallpolitics/2015/08/14/432080520/fact-check-was-planned-parenthood-started-to-control-the-black-population\" target=\"_blank\" rel=\"noopener noreferrer\">during the eugenics movement\u003c/a>” is happening again.\u003c/p>\n\u003cp>There is lengthy discussion of the \u003ca href=\"https://www.cdc.gov/vaccinesafety/concerns/autism.html\" target=\"_blank\" rel=\"noopener noreferrer\">thoroughly disproven link\u003c/a> between \u003ca href=\"https://academic.oup.com/cid/article/48/4/456/284219\" target=\"_blank\" rel=\"noopener noreferrer\">autism and vaccines\u003c/a>. For example, the film references a study from the \u003ca href=\"https://pediatrics.aappublications.org/content/113/2/259\" target=\"_blank\" rel=\"noopener noreferrer\">Centers for Disease Control and Prevention \u003c/a>about the measles, mumps and rubella vaccine and autism rates as evidence that African American children are being particularly harmed, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-reviews/anti-vaccine-doc-vaxxed-a-882651/\" target=\"_blank\" rel=\"noopener noreferrer\">but in reality the study did not conclude that African Americans\u003c/a> are at increased risk of autism because of vaccination.\u003c/p>\n\u003cp>The movie then displays a chart claiming to use that same CDC data—obtained through a Freedom of Information Act request—to make a connection between vaccinating Black children and autism risk. The findings in the chart closely resemble another study sometimes mentioned by anti-vaccine activists, but the medical journal \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4183946/\" target=\"_blank\" rel=\"noopener noreferrer\">later retracted\u003c/a> the study, because of “undeclared competing interests on the part of the author” and “concerns about the validity of the methods and statistical analysis.” (That study’s author was also a paid independent contractor for Kennedy’s group as of 2020 and sits \u003ca href=\"https://childrenshealthdefense.org/about-us/board-directors/\" target=\"_blank\" rel=\"noopener noreferrer\">on its board of directors\u003c/a>.)\u003c/p>\n\u003cp>The film also\u003ca href=\"https://newsnetwork.mayoclinic.org/discussion/mayo-clinic-discovers-african-americans-respond-better-to-rubella-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\"> brings up a 2014 study from the Mayo Clinic\u003c/a> that showed Somali Americans and African Americans have a more robust immune response to the rubella vaccine than Caucasians and Hispanic Americans. One of those interviewed in Kennedy’s film then asks, “So if you have that process that could be caused by vaccines, why wouldn’t there be a link between vaccines and developmental delays?”\u003c/p>\n\u003cp>But the study’s own author and leading vaccine researcher, Dr. Gregory Poland, says this conjecture is not accurate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to a statement provided to NPR by the Mayo Clinic, the study demonstrated “higher protective immune responses in African-American subjects with no evidence of increased vaccine side effects” and that any claim of “‘increased vulnerability’ among African-Americans who receive the rubella vaccine is simply not supported by either this study or the science.”\u003c/p>\n\u003cp>For her part, Rogers, the Yale professor, only appears for about 14 seconds in the film. Her quotes are accurate. But her remarks are embedded in a wider narrative that she had “enormous problems with”—namely that the anti-vaccine movement is heroically engaged in a new civil rights campaign, one meant to stop experimentation on the Black community.\u003c/p>\n\u003cp>Rogers says the film uses many of the ideas that she holds “passionately, like health disparities, fighting racism in health, working against discrimination, and it’s been twisted for the purposes of this anti-vax movement.”\u003c/p>\n\u003cp>Another credible expert from mainstream medicine also appears in the film: \u003ca href=\"https://www.nmanet.org/page/OliverBrooks-Biography\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Oliver Brooks\u003c/a>, the immediate past president of the \u003ca href=\"https://www.nmanet.org\" target=\"_blank\" rel=\"noopener noreferrer\">National Medical Association\u003c/a>. The group is the largest organization representing African American physicians in the United States.\u003c/p>\n\u003cp>Brooks says he agreed to be in the film because he wanted to provide balance, but, after seeing it, he now regrets doing the interview.\u003c/p>\n\u003cp>“The crux of the documentary is generally don’t get vaccinated,” Brooks told NPR in a recent interview. “There \u003cem>is \u003c/em>an understandable concern in the African American community regarding vaccines—however, in the end, my position is you look past those, have an understanding of those and still get vaccinated … That nuance was not felt or presented in the documentary.”\u003c/p>\n\u003cp>Kennedy’s group released the film in early March, just as the COVID-19 vaccine was becoming widely available to the American public.\u003c/p>\n\u003cp>The movie begins with a string of ominous news clips about the pandemic and the COVID-19 vaccines and includes short interviews with people of color who talk about COVID-19 being “propaganda” and why they don’t trust the vaccine. Kennedy also appears to offer \u003ca href=\"https://childrenshealthdefense.org/transcripts/medical-racism-the-new-apartheid/\" target=\"_blank\" rel=\"noopener noreferrer\">a warning to viewers\u003c/a> about vaccines: “Don’t listen to me. Don’t listen to Tony Fauci. Hey, and don’t listen to your doctor.”\u003c/p>\n\u003cp>In addition to Kennedy, other producers helped make and market the film, including a prominent figure in the Nation of Islam, and a wealthy entrepreneur who recently made headlines when a private school he co-founded in Miami \u003ca href=\"https://www.nytimes.com/2021/05/02/us/miami-centner-academy-coronavirus-vaccine.html\" target=\"_blank\" rel=\"noopener noreferrer\">prohibited teachers\u003c/a> who got the COVID-19 vaccine from returning to the classroom.\u003c/p>\n\u003cp>Children’s Health Defense made one of the film’s co-producers, Curtis Cost, available to talk with NPR. He is a longtime anti-vaccine activist, who has previously \u003ca href=\"https://www.voiceamerica.com/episode/103726/the-hivaids-hoax\" target=\"_blank\" rel=\"noopener noreferrer\">claimed\u003c/a> that “viruses do not cause anything, it’s a hoax, it’s a myth … whether you are talking about HIV virus, the flu virus or any other virus.”\u003c/p>\n\u003cp>Cost says the film does not explicitly tell people to refuse the COVID-19 vaccine, but it “goes all the way to the present experimentations and bad things have been done by the medical establishment in America and in Africa and other parts of the world.”\u003c/p>\n\u003cp>“The film basically wants people to recognize this history that leads right into the present, and especially when they’re facing decisions about whether they should take any vaccine, including COVID,” he says.\u003c/p>\n\u003cp>In an email statement, a spokesperson for Children’s Health Defense denies that the film is misinformation and says it contains “peer reviewed science and historical data.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The movie is “a classic example of the anti-vaccine industry with a highly targeted message using sophisticated marketing techniques and building alliances with affiliate organizations,” says Imran Ahmed, chief executive officer of the nonprofit Center for Countering Digital Hate, which has \u003ca href=\"https://252f2edd-1c8b-49f5-9bb2-cb57bb47e4ba.filesusr.com/ugd/f4d9b9_fddbfb2a0c05461cb4bdce2892f3cad0.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">extensively researched figures such as Kennedy\u003c/a>.\u003c/p>\n\u003cp>“They’ve seen the opportunity to target a specifically African American audience,” he says, during a particular moment of heightened national attention on racial injustices and health disparities.\u003c/p>\n\u003cp>Black Americans have \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/covid-data/investigations-discovery/hospitalization-death-by-race-ethnicity.html\" target=\"_blank\" rel=\"noopener noreferrer\">twice the risk of dying from COVID-19\u003c/a> compared with white Americans. Racial disparities in \u003ca href=\"https://khn.org/news/article/covid-vaccination-stark-racial-disparities-persist-state-level-cdc-data/\" target=\"_blank\" rel=\"noopener noreferrer\">vaccination uptake persist\u003c/a> across the United States.\u003c/p>\n\u003cp>While there are \u003ca href=\"https://www.npr.org/sections/health-shots/2021/04/26/989962041/why-black-and-latino-people-still-lag-on-covid-vaccines-and-how-to-fix-it\" target=\"_blank\" rel=\"noopener noreferrer\">efforts \u003c/a>to improve access to the vaccine, media coverage has also focused heavily on historical reasons for vaccine skepticism—too much, \u003ca href=\"https://www.npr.org/sections/health-shots/2021/03/23/974059870/stop-blaming-tuskegee-critics-say-its-not-an-excuse-for-current-medical-racism\" target=\"_blank\" rel=\"noopener noreferrer\">some\u003c/a> scholars argue, when the focus should be on how Black Americans experience the impact of systemic racism in health care today—and how to fix those problems and improve trust.\u003c/p>\n\u003cp>“We’re in this moment where we’re having some necessary discussions about health equity,” says Victor Agbafe, a medical student at the University of Michigan. “It’s not a good thing to sort of exploit that as a means to undermine trust in the vaccine today, instead of focusing on how we can make the vaccine more accessible for all communities.”\u003c/p>\n\u003cp>Agbafe, who helps lead his school’s Black medical student association, was surprised to get an email from Children’s Health Defense asking him to promote the movie among his peers.\u003c/p>\n\u003cp>When it was released, the film did not seem to gain much traction on major social media platforms such as Twitter, although tracking how often this kind of video is being shared privately can be difficult, says \u003ca href=\"https://www.kolinakoltai.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kolina Koltai\u003c/a>, a University of Washington researcher who studies the anti-vaccine movement online.\u003c/p>\n\u003cp>But Kennedy’s anti-vaccine activities during the pandemic involve more than this movie.\u003c/p>\n\u003cp>In February, he \u003ca href=\"https://apnews.com/article/rjf-jr-banned-instagram-vaccine-misinfo-d72913572f04ec9b23cec58881bc32d9\" target=\"_blank\" rel=\"noopener noreferrer\">was banned\u003c/a> from Instagram for posting misinformation on vaccines, but he still has a home on Facebook and Twitter. Ahmed’s organization has labeled Kennedy one of the \u003ca href=\"https://www.npr.org/2021/05/13/996570855/disinformation-dozen-test-facebooks-twitters-ability-to-curb-vaccine-hoaxes\" target=\"_blank\" rel=\"noopener noreferrer\">“disinformation dozen”\u003c/a>—a group of people responsible for 65% of the shares of anti-vaccine misinformation on social media platforms.\u003c/p>\n\u003cp>In a recent \u003ca href=\"https://childrenshealthdefense.org/defender/webinar-rfk-jr-medical-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">webinar\u003c/a> about the film, Kennedy said those who agree with the film need to use “the tools of advocacy that Martin Luther King Jr. talked about” and promote it “guerilla-style” against the “darkening cloud of totalitarianism.”\u003c/p>\n\u003cp>Although more than half of American adults have gotten the COVID-19 vaccine, demand is falling fast, and polls \u003ca href=\"https://www.kff.org/coronavirus-covid-19/poll-finding/kff-covid-19-vaccine-monitor-may-2021/\">show\u003c/a> almost one-third of adults still either want to “wait and see” or do not want to get the shot. When asked why, many say the vaccine is unsafe, based on false conspiracy theories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>“\u003c/em>I see the downstream ripple effects of disinformation every day in practice, every day in the patient’s lives I treat,” says \u003ca href=\"https://www.linkedin.com/in/atul-nakhasi/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Atul Nakhasi\u003c/a> with the Los Angeles County Department of Health Services and co-founder of the online campaign \u003ca href=\"https://thisisourshot.info/\" target=\"_blank\" rel=\"noopener noreferrer\">#ThisIsOurShot\u003c/a>, which aims to encourage trust in the COVID-19 vaccine.\u003c/p>\n\u003cp>“We know people have uncertainties, and we need to acknowledge that and have humble, respectful conversations, but for someone to actively subvert that trust is unconscionable,” Nakhasi says.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.counterhate.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Countering Digital Hate\u003c/a>, the ideal strategy for stopping the spread of online misinformation is to cut it off at the source: meaning “deplatform” the most notorious spreaders of that information so they can’t gain a following on social media in the first place. But Ahmed says that all too often, tech companies don’t take those steps themselves. In that case, the next best tactic is to try to “inoculate” people against false and misleading claims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You tell people in advance, ‘Hey, something terrible is happening, be careful, they’re targeting you,’ ” Ahmed says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Anti-Vaccine+Film+Targeted+To+Black+Americans+Spreads+False+Information&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='arts_13886679']\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hio87bsTopM\u003c/p>\n\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>[aside postid='arts_13892543']None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\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/Hio87bsTopM'\n title='//www.youtube.com/embed/Hio87bsTopM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Notes on Grief' Makes Visceral the Experience of Death and Grieving",
"headTitle": "‘Notes on Grief’ Makes Visceral the Experience of Death and Grieving | KQED",
"content": "\u003cp>The lament, a lyrical outpouring of sorrow, is one of the oldest and most universal art forms, with \u003cem>The Lament for Sumer and Ur \u003c/em>dating back 4,000 years to ancient Sumer.\u003c/p>\n\u003cp>Across time and cultures, the lament has been seen in \u003cem>The Illiad \u003c/em>and \u003cem>t\u003c/em>he Hindu \u003cem>Vedas,\u003c/em> \u003cem>Beowulf\u003c/em> and the \u003cem>Christian Bible. \u003c/em>It has been seen in the operas of Monteverdi and Purcell, the music of Mozart and Rossini. The lament permeates the piobaireachd music of Scotland. And for millenia, the lament has characterized African mourning traditions, from the Bantu in the East to the Igbo in the West.\u003c/p>\n\u003cp>In Chimamanda Ngozi Adichie’s \u003cem>Notes on Grief, \u003c/em>the lament composed to honor and process the death of her father during the early days of the global COVID-19 pandemic, one of our century’s most gifted artists of language makes visceral the experience of death and grieving. In poetic bursts of imagistic prose that mirror the fracturing of self after the death of a beloved parent, Adichie constructs a narrative of mourning—of haunting and of love.\u003c/p>\n\u003cfigure id=\"attachment_13897018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-800x1156.jpg\" alt=\"'Notes On Grief,' by Chimamanda Ngozi Adichie.\" width=\"800\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-800x1156.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1020x1474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-768x1110.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1063x1536.jpg 1063w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1417x2048.jpg 1417w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a.jpg 1495w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Notes On Grief,’ by Chimamanda Ngozi Adichie. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adichie begins with her understanding of how grief is a raw physical thing, as uncontrollable as the urge to expel bile when sick, as the need to push during childbirth. Perhaps this is because grief is not a choice—nor is the depth of grief one feels. It is all consuming; it overtakes one like the pounding of the monsoon during the rainy season and all one can do is hold on and hope not to be swept underneath by the intensity of its force. Writes Adichie:\u003c/p>\n\u003cblockquote>\u003cp>“My four year old daughter says I scared her. She got down on her knees to demonstrate, her small clenched fist rising and falling, and her mimicry makes me see myself as I was: utterly unraveling, screaming and pounding the floor. The news is like a vicious uprooting.”\u003c/p>\u003c/blockquote>\n\u003cp>Even here, even in the retrospective lament, to look directly at the grief is too much to bear. Adichie must construct the frame of her daughter’s seeing in order to look at the manifestation of her own pain. Grief, Adichie tells us, is grounded in the body memory. “The pain is not surprising, but its physicality is,” she writes early on, her sides achy from crying, her arms heavy with sorrow; understanding that mourning is an act of the whole body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moving across past and present, Adichie details the familiar—the pandemic-driven Zoom calls with family across three different countries—and then the horrific—her father’s sudden death when he seemed fine—followed by the family’s shock and numbness as they process what has happened, as they wonder what could have been done differently in order for their father not to die. The \u003cem>if onlys \u003c/em>become a familiar refrain, turning over and over in the mind. “Did my spirit know—the way anxiety sat sharp in my stomach once I heard he was unwell; my sleeplessness for two days; and the hovering, darkening pall I could neither name nor shake off?” she writes.\u003c/p>\n\u003cp>And always, the lament that death came too soon, the wishing for more time.\u003c/p>\n\u003cp>[aside postid='arts_13893843']Reflecting upon moments of her father’s life in vivid, richly saturated details allows some comfort. Adichie details her last trip to Nigeria to see her father, the stories of his courtship of her mother and other memories. Carefully, lovingly, she touches upon the objects that are all that are left, now, to mark her father’s life that both comfort and haunt—the piles of stones in the driveway to mark his daily exercise, home videos from trips to Lagos, old sudoku books, old photographs and letters. But even she, the writer, knows these words are not enough to stem the rising waters of grief: “You learn how much grief is about language, the failure of language and the grasping for language,” Adichie writes.\u003c/p>\n\u003cp>A daughter’s love and respect for a father who was pivotal in her formation of self saturates these pages. Equally present is the need to create something out of that grief to honor the father so he will be remembered. But the question is how. As the pandemic rages on, the funeral is delayed; instead, mourners from their community come to sit and tell stories over and over. Adichie reckons with her discomfort with these aspects of Igbo mourning traditions:\u003c/p>\n\u003cblockquote>\u003cp>“There is value in that Igbo way, that African way, of grappling with grief: that performative, expressive mourning, where you take every call and you tell and retell the story of what happened, where isolation is anathema and ‘stop crying’ a refrain. But I am not ready.”\u003c/p>\u003c/blockquote>\n\u003cp>For Adichie, this communal mourning is too much. While her mother must shave her head and sit and bear the grief of the community come to honor her dead husband with their words, both spoken and signed into the death notebook, Adichie thinks: “Who are you coming into our house to write in that alien notebook? How dare you make this thing true?” She is troubled over the platitudes uttered that echo meaningless and empty, and humbly regrets times in the past when she too had uttered those same platitudes to friends who had lost a loved one, unaware of the painful banality of such language in the midst of the sharp haunting of grieving.\u003c/p>\n\u003cp>For Adichie, grief is private, held close. She does not want to speak to others. She wants to wrap herself in grief like a baby in a swaddled blanket and imagine it is her father’s hands, still present, soothing her to sleep. It is only in the stillness of her own lament that she can understand grief. To Adichie, the only word that makes sense is the simple, authentic \u003cem>Ndo,\u003c/em> the Igbo word for sorry.\u003c/p>\n\u003cp>In the closing pages, the body still looms large over the understanding of grief. Adichie, thinking of how to adorn the body for grief, is making T-shirts for her father’s funeral. “I don’t particularly like T-shirts, but I spend hours on a customization website, designing T-shirts to memorialize my father, trying out fonts and colors and images,” she writes.\u003c/p>\n\u003cp>[aside postid='arts_13879768']It is primal and universal, the need to create something to honor the dead; to say “I am my father’s daughter.” First the marking of grief on the body, then the marking of grief on the page.\u003c/p>\n\u003cp>In this way, \u003cem>Notes on Grief \u003c/em>becomes a work larger than its slim size, universal in the experience of the loss of a parent, and the struggle to mourn that loss, during a pandemic when airport closures and social distancing push funerals months and months past their scheduled dates. Of not knowing when the funeral will be, the delaying again, and then again. “‘After the burial we can begin to heal,'” Adichie’s mother says. Perhaps, in the reading of this book, in this personal lament made universal, so too will the rest of us who have lost so much over this past year of loss and grieving.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hope Wabuke is a poet, writer and assistant professor at the University of Nebraska-Lincoln.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Notes+On+Grief%27+Makes+Visceral+The+Experience+Of+Death+And+Grieving&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lament, a lyrical outpouring of sorrow, is one of the oldest and most universal art forms, with \u003cem>The Lament for Sumer and Ur \u003c/em>dating back 4,000 years to ancient Sumer.\u003c/p>\n\u003cp>Across time and cultures, the lament has been seen in \u003cem>The Illiad \u003c/em>and \u003cem>t\u003c/em>he Hindu \u003cem>Vedas,\u003c/em> \u003cem>Beowulf\u003c/em> and the \u003cem>Christian Bible. \u003c/em>It has been seen in the operas of Monteverdi and Purcell, the music of Mozart and Rossini. The lament permeates the piobaireachd music of Scotland. And for millenia, the lament has characterized African mourning traditions, from the Bantu in the East to the Igbo in the West.\u003c/p>\n\u003cp>In Chimamanda Ngozi Adichie’s \u003cem>Notes on Grief, \u003c/em>the lament composed to honor and process the death of her father during the early days of the global COVID-19 pandemic, one of our century’s most gifted artists of language makes visceral the experience of death and grieving. In poetic bursts of imagistic prose that mirror the fracturing of self after the death of a beloved parent, Adichie constructs a narrative of mourning—of haunting and of love.\u003c/p>\n\u003cfigure id=\"attachment_13897018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-800x1156.jpg\" alt=\"'Notes On Grief,' by Chimamanda Ngozi Adichie.\" width=\"800\" height=\"1156\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-800x1156.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1020x1474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-768x1110.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1063x1536.jpg 1063w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a-1417x2048.jpg 1417w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/notes_custom-662aa5e0465d980b562621a5ba400a56d4083e0a.jpg 1495w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Notes On Grief,’ by Chimamanda Ngozi Adichie. \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adichie begins with her understanding of how grief is a raw physical thing, as uncontrollable as the urge to expel bile when sick, as the need to push during childbirth. Perhaps this is because grief is not a choice—nor is the depth of grief one feels. It is all consuming; it overtakes one like the pounding of the monsoon during the rainy season and all one can do is hold on and hope not to be swept underneath by the intensity of its force. Writes Adichie:\u003c/p>\n\u003cblockquote>\u003cp>“My four year old daughter says I scared her. She got down on her knees to demonstrate, her small clenched fist rising and falling, and her mimicry makes me see myself as I was: utterly unraveling, screaming and pounding the floor. The news is like a vicious uprooting.”\u003c/p>\u003c/blockquote>\n\u003cp>Even here, even in the retrospective lament, to look directly at the grief is too much to bear. Adichie must construct the frame of her daughter’s seeing in order to look at the manifestation of her own pain. Grief, Adichie tells us, is grounded in the body memory. “The pain is not surprising, but its physicality is,” she writes early on, her sides achy from crying, her arms heavy with sorrow; understanding that mourning is an act of the whole body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moving across past and present, Adichie details the familiar—the pandemic-driven Zoom calls with family across three different countries—and then the horrific—her father’s sudden death when he seemed fine—followed by the family’s shock and numbness as they process what has happened, as they wonder what could have been done differently in order for their father not to die. The \u003cem>if onlys \u003c/em>become a familiar refrain, turning over and over in the mind. “Did my spirit know—the way anxiety sat sharp in my stomach once I heard he was unwell; my sleeplessness for two days; and the hovering, darkening pall I could neither name nor shake off?” she writes.\u003c/p>\n\u003cp>And always, the lament that death came too soon, the wishing for more time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Reflecting upon moments of her father’s life in vivid, richly saturated details allows some comfort. Adichie details her last trip to Nigeria to see her father, the stories of his courtship of her mother and other memories. Carefully, lovingly, she touches upon the objects that are all that are left, now, to mark her father’s life that both comfort and haunt—the piles of stones in the driveway to mark his daily exercise, home videos from trips to Lagos, old sudoku books, old photographs and letters. But even she, the writer, knows these words are not enough to stem the rising waters of grief: “You learn how much grief is about language, the failure of language and the grasping for language,” Adichie writes.\u003c/p>\n\u003cp>A daughter’s love and respect for a father who was pivotal in her formation of self saturates these pages. Equally present is the need to create something out of that grief to honor the father so he will be remembered. But the question is how. As the pandemic rages on, the funeral is delayed; instead, mourners from their community come to sit and tell stories over and over. Adichie reckons with her discomfort with these aspects of Igbo mourning traditions:\u003c/p>\n\u003cblockquote>\u003cp>“There is value in that Igbo way, that African way, of grappling with grief: that performative, expressive mourning, where you take every call and you tell and retell the story of what happened, where isolation is anathema and ‘stop crying’ a refrain. But I am not ready.”\u003c/p>\u003c/blockquote>\n\u003cp>For Adichie, this communal mourning is too much. While her mother must shave her head and sit and bear the grief of the community come to honor her dead husband with their words, both spoken and signed into the death notebook, Adichie thinks: “Who are you coming into our house to write in that alien notebook? How dare you make this thing true?” She is troubled over the platitudes uttered that echo meaningless and empty, and humbly regrets times in the past when she too had uttered those same platitudes to friends who had lost a loved one, unaware of the painful banality of such language in the midst of the sharp haunting of grieving.\u003c/p>\n\u003cp>For Adichie, grief is private, held close. She does not want to speak to others. She wants to wrap herself in grief like a baby in a swaddled blanket and imagine it is her father’s hands, still present, soothing her to sleep. It is only in the stillness of her own lament that she can understand grief. To Adichie, the only word that makes sense is the simple, authentic \u003cem>Ndo,\u003c/em> the Igbo word for sorry.\u003c/p>\n\u003cp>In the closing pages, the body still looms large over the understanding of grief. Adichie, thinking of how to adorn the body for grief, is making T-shirts for her father’s funeral. “I don’t particularly like T-shirts, but I spend hours on a customization website, designing T-shirts to memorialize my father, trying out fonts and colors and images,” she writes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is primal and universal, the need to create something to honor the dead; to say “I am my father’s daughter.” First the marking of grief on the body, then the marking of grief on the page.\u003c/p>\n\u003cp>In this way, \u003cem>Notes on Grief \u003c/em>becomes a work larger than its slim size, universal in the experience of the loss of a parent, and the struggle to mourn that loss, during a pandemic when airport closures and social distancing push funerals months and months past their scheduled dates. Of not knowing when the funeral will be, the delaying again, and then again. “‘After the burial we can begin to heal,'” Adichie’s mother says. Perhaps, in the reading of this book, in this personal lament made universal, so too will the rest of us who have lost so much over this past year of loss and grieving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hope Wabuke is a poet, writer and assistant professor at the University of Nebraska-Lincoln.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Notes+On+Grief%27+Makes+Visceral+The+Experience+Of+Death+And+Grieving&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At Japantown Legacy Businesses Benkyodo and On the Bridge, Resilience is on the Menu",
"headTitle": "At Japantown Legacy Businesses Benkyodo and On the Bridge, Resilience is on the Menu | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]A[/dropcap] sea of little bottles in aqua, pink and seafoam green line the long bar of \u003c/span>\u003ca href=\"http://onthebridgesf.com/?utm_source=gmb&utm_medium=referral\">\u003cspan style=\"font-weight: 400\">On the Bridge\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco\u003c/span>\u003ca href=\"https://www.sfjapantown.org/\">\u003cspan style=\"font-weight: 400\"> Japantown\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Chef Mitsuhiro Nakamura is proud of his ability to choose the perfect sake from his collection to match the taste of any diner. But when the shelter in place started last spring, the restaurant Nakamura and his wife Yolanda had run for 30 years immediately lost 90 percent of its business due to its location on the narrow, enclosed bridgeway connecting the Japan Center’s West Mall and Kinokuniya building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Without direct street access, On the Bridge was literally marooned.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco’s Japantown, as a whole, has been hit hard by the COVID-19 crisis. Several businesses have \u003ca href=\"https://sf.eater.com/2021/1/29/22254711/takara-sf-japantown-permanent-closure-japan-center-kiss-seafood\">permanently closed\u003c/a>, and those located in the malls have been in the toughest spots, in part due to a rent dispute with the \u003ca href=\"https://www.kqed.org/news/11837511/whats-lost-in-bay-area-asian-culture-when-sf-eviction-moratorium-ends\">Japan Center landlords\u003c/a>. Still, legacy businesses like On the Bridge and the 115-year-old mochi shop Benkyodo have \u003c/span>\u003cspan style=\"font-weight: 400\">managed to keep their doors open in spite of the challenges of the pandemic—even as their owners head into their 70s. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID=news_11846796,news_11837511 label='More on Japantown']For On the Bridge, the restaurant’s 85 different sakes and 27 Japanese beers (plus people’s pandemic thirst for alcohol) provided a lifeline to allow the Nakamuras to hold on and slowly inch their way back.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Besides describing the restaurant’s physical location in the mall, the name “On the Bridge” also represents the link that its yoshoku style dishes make between Japanese and European cuisines. Chef Nakamura says he was the first Bay Area chef to specialize in this style of fusion cooking, which traces its roots back to 1868, when Emperor Meiji first welcomed Western ideas as helpful for Japan’s progress. Some non-Japanese diners may be unfamiliar with yoshoku’s comforting standbys, but these are the dishes that Japanese mothers often make for their children: curries, cutlets, Japanese-style hamburgers, omu-rice (omelet stuffed with fried rice) and fish roe–studded spaghettis. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/On-the-Bridge_omurice-800x559.jpg\" alt=\"Omu-rice with squiggles of ketchup and mayonnaise on top. \" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-2048x1430.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-1920x1341.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Omu-rice is one of On the Bridge’s Japanese-style Western dishes. \u003ccite>(Anna Mindess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">At On the Bridge, Yolanda Nakamura says, many first-time customers don’t know what to make of the menu: “They sit down at the long wooden counter and ask ‘Where’s the sushi?’ When I tell them we have none, they say, ‘I thought in Japan everyone eats sushi, tempura and teriyaki—not spaghetti!’ Often, they walk out.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nevertheless, the restaurant’s comforting food has many devoted fans, not all of whom are Japanese. The punk rock icon \u003c/span>\u003ca href=\"https://sf.eater.com/2019/1/23/18193157/patti-smith-sf-japantown-restaurant-on-the-bridge\">\u003cspan style=\"font-weight: 400\">Patti Smith, for instance, has often waxed rhapsodic\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about its 23 kinds of pasta and Lenny’s brand wasabi beer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Curries, in particular, are chef Nakamura’s specialty. “Curry is very hard to make,” Yolanda says. “Chef makes it from scratch, and it takes three to four days of slow cooking. Sometimes younger customers say, ‘I could make that much quicker with a mix.’ If the chef heard that, he would get upset, so I just push my husband away.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/On-the-Bridge_owners-800x465.jpg\" alt=\"Owners Yolanda (left) and Mitsuhiro Nakamura stand behind the bar at their restaurant On the Bridge. \" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-1536x893.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-2048x1191.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-1920x1116.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda (left) and Mitsuhiro Nakamura have run their yoshoku restaurant, On the Bridge, for more than 30 years. \u003ccite>(Anna Mindess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When the pandemic closed the mall, the restaurant’s new reliance on delivery apps and social media presented a big challenge for the Nakamuras. Luckily, their daughter Emi, 29, was able to help hook them up. But a more difficult problem was that since both entrances to the mall were closed, when a delivery app driver arrived, either the chef or Yolanda had to run downstairs—sometimes both of them, one to each entrance. The couple couldn’t leave the restaurant unattended, so eventually they hired back one of their employees to help.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each of the three times On the Bridge was allowed to reopen for indoor dining, alcohol was one of the bestsellers. Customers would sit down for a drink while waiting for a table at another restaurant. After dinner, they’d return for another round. The Nakamuras are cautiously hopeful now, as business seems to be picking up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even in the early weeks of the pandemic, when days went by with no sales, Yolanda says, “My husband was determined not to quit. He does it for the pleasure of cooking, not for the money. He’s 70, but not ready to retire.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ll be here until my body doesn’t move anymore,” chef Nakamura says. “My job is to spread the love of sake.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Benkyodo_mochi-800x584.jpg\" alt=\"A man holds a tray of green mochi in paper sleeves.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-1536x1121.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-2048x1495.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-1920x1402.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tray of Benkyodo’s famous mochi. \u003ccite>(Anna Mindess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]S[/dropcap]tuff, roll, pinch. That’s the mantra for handmade mochi. Ricky and Bobby Okamura, the owners of \u003c/span>\u003ca href=\"http://www.benkyodocompany.com/\">\u003cspan style=\"font-weight: 400\">Benkyodo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, repeat that process over 1,000 times a day, wrapping smooth rice flour skin around dollops of sweet bean paste five days a week for over 30 years now. Benkyodo itself has an even longer history: Open since 1906, the 115-year-old mochi shop is Japantown’s oldest business.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even the COVID-19 crisis couldn’t completely halt the mochi production line. Like a vintage engine, with fits and starts, it stopped, but eventually started up again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The pandemic was hard for us,” Bobby Okamura says. “We had to close for two and a half months.” Pre-COVID, the brothers made about 1,500 pieces of mochi and manju a day in 15 different flavors. Now, that figure is down to around 1,000 pieces in 7 to 10 flavors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The narrow space on Buchanan Street is about the size of a BART car. Across from the mochi display cases, there’s a low, diner-style lunch counter with red stools that has not changed for 50 years, where regulars would gather daily for coffee and catching up. But no more: With COVID guidelines, only two customers are allowed in the shop at a time—cash only, as has always been the case. Business is way down on weekdays, the Okamuras say, but Fridays and Saturdays often see a line of customers waiting in the plaza.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We could make [the mochi] by machine,” concedes Bobby, shaking his head. He’s now 66 and works from 7am to 4pm. “But all the pieces would look exactly the same, without the texture from being handmade. Ours have a unique taste, texture and look.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ricky, who is 70 and works from 5am to noon, puts it simply: “This is not easy work.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Mochi is very important to the community,” explains Alice Kawahatsu, a third-generation Japanese American who has brought visitors to Benkyodo on her Japantown Tasting Tour with \u003c/span>\u003ca href=\"https://edibleexcursions.net/\">\u003cspan style=\"font-weight: 400\">Edible Excursions\u003c/span>\u003cspan style=\"font-weight: 400\"> for the past 10 years.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> “It plays an essential role in several holidays, especially New Year’s. And it’s the perfect gift when visiting someone’s home.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The sweets are traditionally filled with red or white bean paste, but the Okamuras have added a few innovations, incorporating seasonal fruit such as strawberries, blueberries or mango.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Suyeichi Okamura, Ricky and Bobby’s grandfather, opened the original Benkyodo storefront in 1906, a few blocks away on Geary. Suyeichi is the one who coined the name Benkyodo, Bobby explains. He chose a word that means “affordable” to reassure community members that they could shop there comfortably. Suyeichi also penned the store’s motto: “Confections that win affections.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1942, Bobby and Ricky’s grandparents and father were sent to an \u003c/span>\u003ca href=\"https://amache.org/overview/\">\u003cspan style=\"font-weight: 400\">internment camp in Amache\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> Colorado. Suyeichi asked his Chinese neighbor to watch over his store while he was gone—which he did. His son, Hirofumi—Bobby and Ricky’s father—who was a teenager at the time, met his future wife, Sue, in the camp. They lived in that harsh and desolate place for three years, not knowing if their home and business would be there when they returned. Luckily, they were.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That history resonates with Kawahatsu, the Japantown tour guide, whose own mother and grandparents were incarcerated in \u003c/span>\u003ca href=\"https://www.tulelake.org/history\">\u003cspan style=\"font-weight: 400\">Tule Lake\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">“The first and second generation sacrificed so much so that we could be here today to continue to share our rich history, stories and food with our families and others who visit and want to learn more about Japanese arts and food. There is a sense of obligation, but also a pride in our rich heritage.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The start of the pandemic in 2020 marked only the second time in its 115-year history that Benkyodo has had to close. Internment wasn’t able to kill the business. So far, it doesn’t look like COVID will be able to either.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Benkyodo_owners-800x512.jpg\" alt=\"Benkyodo owners Ricky and Bobby Nakamura stuff pink mochi with white bean paste \" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-1536x984.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-2048x1312.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-1920x1230.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After rolling mochi for more than 30 years, Ricky (left) and Bobby Okamura are finally getting ready to retire. \u003ccite>(Anna Mindess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the Okamura brothers, the store has always been part of their lives, as they lived with their family in an apartment upstairs. \u003c/span>\u003cspan style=\"font-weight: 400\">But their father didn’t force them to take over the store, they point out. (“It \u003c/span>\u003cspan style=\"font-weight: 400\">was an option,” Bobby says.) Now, after years of speculation swirling around the community about whether Benkyodo will be sold or closed, Bobby and Ricky have finally decided to retire at the end of the year. They are actively negotiating with possible buyers. “Our strong preference would be for a family member,” says Bobby. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If the Okamuras aren’t able to find a buyer, it would be a huge loss to the Bay Area’s Japanese American community, Kawahatsu says. “No other place compares to its delicious confections or its rich history and legacy.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite the long hours and physical demands of their work, Bobby says, “We have been happy to serve our community and glad that people enjoy what we make.” \u003c/span>\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>\u003ci>\u003cspan style=\"font-weight: 400\">On the Bridge is open at \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">1581 Webster Street #206 in San Francisco, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Monday–Wednesday noon–7 pm and Friday and Saturday noon–9pm (closed Thursday). 415-922-7765.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Benkyodo is open at \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">1747 Buchanan Street in\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">San Francisco, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Tuesday–Saturday 9am–4:00pm. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">415-922-1244,\u003c/span>\u003c/i> c\u003ci>\u003cspan style=\"font-weight: 400\">ash only.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "A beloved mochi shop closed for only the second time in 115 years. Now it's back open again.",
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"title": "At Japantown Legacy Businesses Benkyodo and On the Bridge, Resilience is on the Menu | KQED",
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"headline": "At Japantown Legacy Businesses Benkyodo and On the Bridge, Resilience is on the Menu",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp> sea of little bottles in aqua, pink and seafoam green line the long bar of \u003c/span>\u003ca href=\"http://onthebridgesf.com/?utm_source=gmb&utm_medium=referral\">\u003cspan style=\"font-weight: 400\">On the Bridge\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco\u003c/span>\u003ca href=\"https://www.sfjapantown.org/\">\u003cspan style=\"font-weight: 400\"> Japantown\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Chef Mitsuhiro Nakamura is proud of his ability to choose the perfect sake from his collection to match the taste of any diner. But when the shelter in place started last spring, the restaurant Nakamura and his wife Yolanda had run for 30 years immediately lost 90 percent of its business due to its location on the narrow, enclosed bridgeway connecting the Japan Center’s West Mall and Kinokuniya building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Without direct street access, On the Bridge was literally marooned.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco’s Japantown, as a whole, has been hit hard by the COVID-19 crisis. Several businesses have \u003ca href=\"https://sf.eater.com/2021/1/29/22254711/takara-sf-japantown-permanent-closure-japan-center-kiss-seafood\">permanently closed\u003c/a>, and those located in the malls have been in the toughest spots, in part due to a rent dispute with the \u003ca href=\"https://www.kqed.org/news/11837511/whats-lost-in-bay-area-asian-culture-when-sf-eviction-moratorium-ends\">Japan Center landlords\u003c/a>. Still, legacy businesses like On the Bridge and the 115-year-old mochi shop Benkyodo have \u003c/span>\u003cspan style=\"font-weight: 400\">managed to keep their doors open in spite of the challenges of the pandemic—even as their owners head into their 70s. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For On the Bridge, the restaurant’s 85 different sakes and 27 Japanese beers (plus people’s pandemic thirst for alcohol) provided a lifeline to allow the Nakamuras to hold on and slowly inch their way back.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Besides describing the restaurant’s physical location in the mall, the name “On the Bridge” also represents the link that its yoshoku style dishes make between Japanese and European cuisines. Chef Nakamura says he was the first Bay Area chef to specialize in this style of fusion cooking, which traces its roots back to 1868, when Emperor Meiji first welcomed Western ideas as helpful for Japan’s progress. Some non-Japanese diners may be unfamiliar with yoshoku’s comforting standbys, but these are the dishes that Japanese mothers often make for their children: curries, cutlets, Japanese-style hamburgers, omu-rice (omelet stuffed with fried rice) and fish roe–studded spaghettis. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/On-the-Bridge_omurice-800x559.jpg\" alt=\"Omu-rice with squiggles of ketchup and mayonnaise on top. \" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-2048x1430.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_omurice-1920x1341.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Omu-rice is one of On the Bridge’s Japanese-style Western dishes. \u003ccite>(Anna Mindess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">At On the Bridge, Yolanda Nakamura says, many first-time customers don’t know what to make of the menu: “They sit down at the long wooden counter and ask ‘Where’s the sushi?’ When I tell them we have none, they say, ‘I thought in Japan everyone eats sushi, tempura and teriyaki—not spaghetti!’ Often, they walk out.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nevertheless, the restaurant’s comforting food has many devoted fans, not all of whom are Japanese. The punk rock icon \u003c/span>\u003ca href=\"https://sf.eater.com/2019/1/23/18193157/patti-smith-sf-japantown-restaurant-on-the-bridge\">\u003cspan style=\"font-weight: 400\">Patti Smith, for instance, has often waxed rhapsodic\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about its 23 kinds of pasta and Lenny’s brand wasabi beer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Curries, in particular, are chef Nakamura’s specialty. “Curry is very hard to make,” Yolanda says. “Chef makes it from scratch, and it takes three to four days of slow cooking. Sometimes younger customers say, ‘I could make that much quicker with a mix.’ If the chef heard that, he would get upset, so I just push my husband away.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896756\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/On-the-Bridge_owners-800x465.jpg\" alt=\"Owners Yolanda (left) and Mitsuhiro Nakamura stand behind the bar at their restaurant On the Bridge. \" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-1536x893.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-2048x1191.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/On-the-Bridge_owners-1920x1116.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda (left) and Mitsuhiro Nakamura have run their yoshoku restaurant, On the Bridge, for more than 30 years. \u003ccite>(Anna Mindess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When the pandemic closed the mall, the restaurant’s new reliance on delivery apps and social media presented a big challenge for the Nakamuras. Luckily, their daughter Emi, 29, was able to help hook them up. But a more difficult problem was that since both entrances to the mall were closed, when a delivery app driver arrived, either the chef or Yolanda had to run downstairs—sometimes both of them, one to each entrance. The couple couldn’t leave the restaurant unattended, so eventually they hired back one of their employees to help.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each of the three times On the Bridge was allowed to reopen for indoor dining, alcohol was one of the bestsellers. Customers would sit down for a drink while waiting for a table at another restaurant. After dinner, they’d return for another round. The Nakamuras are cautiously hopeful now, as business seems to be picking up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even in the early weeks of the pandemic, when days went by with no sales, Yolanda says, “My husband was determined not to quit. He does it for the pleasure of cooking, not for the money. He’s 70, but not ready to retire.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ll be here until my body doesn’t move anymore,” chef Nakamura says. “My job is to spread the love of sake.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Benkyodo_mochi-800x584.jpg\" alt=\"A man holds a tray of green mochi in paper sleeves.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-1536x1121.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-2048x1495.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_mochi-1920x1402.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tray of Benkyodo’s famous mochi. \u003ccite>(Anna Mindess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>tuff, roll, pinch. That’s the mantra for handmade mochi. Ricky and Bobby Okamura, the owners of \u003c/span>\u003ca href=\"http://www.benkyodocompany.com/\">\u003cspan style=\"font-weight: 400\">Benkyodo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, repeat that process over 1,000 times a day, wrapping smooth rice flour skin around dollops of sweet bean paste five days a week for over 30 years now. Benkyodo itself has an even longer history: Open since 1906, the 115-year-old mochi shop is Japantown’s oldest business.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even the COVID-19 crisis couldn’t completely halt the mochi production line. Like a vintage engine, with fits and starts, it stopped, but eventually started up again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The pandemic was hard for us,” Bobby Okamura says. “We had to close for two and a half months.” Pre-COVID, the brothers made about 1,500 pieces of mochi and manju a day in 15 different flavors. Now, that figure is down to around 1,000 pieces in 7 to 10 flavors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The narrow space on Buchanan Street is about the size of a BART car. Across from the mochi display cases, there’s a low, diner-style lunch counter with red stools that has not changed for 50 years, where regulars would gather daily for coffee and catching up. But no more: With COVID guidelines, only two customers are allowed in the shop at a time—cash only, as has always been the case. Business is way down on weekdays, the Okamuras say, but Fridays and Saturdays often see a line of customers waiting in the plaza.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We could make [the mochi] by machine,” concedes Bobby, shaking his head. He’s now 66 and works from 7am to 4pm. “But all the pieces would look exactly the same, without the texture from being handmade. Ours have a unique taste, texture and look.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ricky, who is 70 and works from 5am to noon, puts it simply: “This is not easy work.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Mochi is very important to the community,” explains Alice Kawahatsu, a third-generation Japanese American who has brought visitors to Benkyodo on her Japantown Tasting Tour with \u003c/span>\u003ca href=\"https://edibleexcursions.net/\">\u003cspan style=\"font-weight: 400\">Edible Excursions\u003c/span>\u003cspan style=\"font-weight: 400\"> for the past 10 years.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> “It plays an essential role in several holidays, especially New Year’s. And it’s the perfect gift when visiting someone’s home.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The sweets are traditionally filled with red or white bean paste, but the Okamuras have added a few innovations, incorporating seasonal fruit such as strawberries, blueberries or mango.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Suyeichi Okamura, Ricky and Bobby’s grandfather, opened the original Benkyodo storefront in 1906, a few blocks away on Geary. Suyeichi is the one who coined the name Benkyodo, Bobby explains. He chose a word that means “affordable” to reassure community members that they could shop there comfortably. Suyeichi also penned the store’s motto: “Confections that win affections.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1942, Bobby and Ricky’s grandparents and father were sent to an \u003c/span>\u003ca href=\"https://amache.org/overview/\">\u003cspan style=\"font-weight: 400\">internment camp in Amache\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> Colorado. Suyeichi asked his Chinese neighbor to watch over his store while he was gone—which he did. His son, Hirofumi—Bobby and Ricky’s father—who was a teenager at the time, met his future wife, Sue, in the camp. They lived in that harsh and desolate place for three years, not knowing if their home and business would be there when they returned. Luckily, they were.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That history resonates with Kawahatsu, the Japantown tour guide, whose own mother and grandparents were incarcerated in \u003c/span>\u003ca href=\"https://www.tulelake.org/history\">\u003cspan style=\"font-weight: 400\">Tule Lake\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">“The first and second generation sacrificed so much so that we could be here today to continue to share our rich history, stories and food with our families and others who visit and want to learn more about Japanese arts and food. There is a sense of obligation, but also a pride in our rich heritage.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The start of the pandemic in 2020 marked only the second time in its 115-year history that Benkyodo has had to close. Internment wasn’t able to kill the business. So far, it doesn’t look like COVID will be able to either.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Benkyodo_owners-800x512.jpg\" alt=\"Benkyodo owners Ricky and Bobby Nakamura stuff pink mochi with white bean paste \" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-1536x984.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-2048x1312.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Benkyodo_owners-1920x1230.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After rolling mochi for more than 30 years, Ricky (left) and Bobby Okamura are finally getting ready to retire. \u003ccite>(Anna Mindess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the Okamura brothers, the store has always been part of their lives, as they lived with their family in an apartment upstairs. \u003c/span>\u003cspan style=\"font-weight: 400\">But their father didn’t force them to take over the store, they point out. (“It \u003c/span>\u003cspan style=\"font-weight: 400\">was an option,” Bobby says.) Now, after years of speculation swirling around the community about whether Benkyodo will be sold or closed, Bobby and Ricky have finally decided to retire at the end of the year. They are actively negotiating with possible buyers. “Our strong preference would be for a family member,” says Bobby. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If the Okamuras aren’t able to find a buyer, it would be a huge loss to the Bay Area’s Japanese American community, Kawahatsu says. “No other place compares to its delicious confections or its rich history and legacy.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite the long hours and physical demands of their work, Bobby says, “We have been happy to serve our community and glad that people enjoy what we make.” \u003c/span>\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>\u003ci>\u003cspan style=\"font-weight: 400\">On the Bridge is open at \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">1581 Webster Street #206 in San Francisco, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Monday–Wednesday noon–7 pm and Friday and Saturday noon–9pm (closed Thursday). 415-922-7765.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Benkyodo is open at \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">1747 Buchanan Street in\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">San Francisco, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Tuesday–Saturday 9am–4:00pm. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">415-922-1244,\u003c/span>\u003c/i> c\u003ci>\u003cspan style=\"font-weight: 400\">ash only.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "California Reopens in June. When Can We See Live Music Again?",
"headTitle": "California Reopens in June. When Can We See Live Music Again? | KQED",
"content": "\u003cp>Governor Gavin Newsom announced yesterday that California would fully open its economy on June 15, provided there’s enough vaccine supply and COVID-19 hospitalizations remain low. Counties will abandon the color-coded tier system that allows certain businesses to operate at limited capacity, and instead will adopt a \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/Pages/COVID-19/beyond_memo.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">statewide reopening model\u003c/a>.\u003c/p>\n\u003cp>Theoretically, that means clubs, concert halls and ballrooms can invite guests at full capacity in two months—and put musicians, stage crews and venue staff back to work. (The new state guidelines stipulate that masks will still be mandatory, and conventions with over 5,000 attendees will require proof of vaccination or a negative COVID test.) [aside postid='news_11867934']\u003c/p>\n\u003cp>If all goes according to plan, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, the free, outdoor live music series that takes place on weekends in San Francisco every summer, is planning to do just that. Executive director Bob Fiedler tells KQED he’s hopeful the festival can relaunch on June 20 with some COVID safety modifications.\u003c/p>\n\u003cp>Instead of allowing guests to come and go freely, there will be a fenced perimeter around the Stern Grove meadow and designated entry points. Reservations will be required, social distancing will be enforced and capacity will be down to about 3,000 from 10,000 in previous years. Pending approval from the San Francisco Department of Public Health, Stern Grove plans to announce its lineup and dates in about a month.\u003c/p>\n\u003cp>“As far as a bigger music festival, there’s a chance we’re going to be one of first ones back and we’re excited for that,” says Fiedler. “Music heals and it’s medicine, and the Bay Area and people in general can use that right now.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfsymphony.org/About-SFS\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a> may also see an earlier return to live performances than anticipated. CEO Mark Hanson tells KQED that the orchestra will likely give several outdoor concerts in June, July and August, and that program details will be released in the coming month or two. Indoor performances may resume in the fall. “O\u003cspan class=\"s1\">ur planning continues now with an increased sense of confidence and belief that this will actually happen,” he says, adding that digital programming will continue on the orchestra’s streaming service, \u003ca href=\"https://www.sfsymphonyplus.org/?npclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE&utm_source=google&utm_medium=cpc&utm_term=sf%20symphony%20plus&utm_campaign=Brand+-+SFS%2B&gclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>For many indoor music venue owners, getting back to business may be a slower process. “The idea of reopening that soon is as scary as closing was a year ago,” says Lynn Schwarz, co-owner and talent buyer at \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a>, an intimate, dive-y San Francisco rock club with a capacity of 250 people.\u003c/p>\n\u003cfigure id=\"attachment_13852010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_0601-800x533.jpg\" alt=\"Super Unison's Meghan O'Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Super Unison’s Meghan O’Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwarz and her partners need capital to reopen. They’re applying to the \u003ca href=\"https://www.sba.gov/funding-programs/loans/covid-19-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> from the federal government, which would help take care of some of the bills and debt. They also need another Payroll Protection Program loan to rehire their staff and give them enough hours. That’s in addition to a litany of logistical tasks, like making sure appliances and sound equipment still work after a year of disuse, installing plastic barriers and better ventilation and switching from a cash-only to a touchless payment system. [aside postid='arts_13894097']\u003c/p>\n\u003cp>“We will be [financially] vulnerable for the whole of next year,” says Schwarz, adding that many of her venue owner peers have expressed similar concerns.\u003c/p>\n\u003cp>Schwarz has booked a handful of concerts for August with bands like Surfer Blood and King Buffalo, and is in the process of finalizing a few other dates before announcing an official grand reopening. “It’s going to be a mad dash to get the best local bands on the bill,” she says, adding that out-of-town acts may be slow to organize national tours.\u003c/p>\n\u003cp>Venues that book primarily touring acts may take even longer to get off the ground. “When we—our community, meaning music venues, promoters, artists, agents and managers—all feel that it makes sense to start up the tours and to tour the country, then it starts to become real and viable,” says David Mayeri, CEO of \u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The UC Theatre\u003c/a>, adding that concerts will likely resume in his 1,400-capacity Berkeley ballroom in September, possibly August. “A lot can happen between now and June 15 that will be positive; some things can happen that will be setbacks. We don’t know what to predict.”\u003c/p>\n\u003cp>Mayeri is an organizer with \u003ca href=\"https://nivacalifornia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NIVA California\u003c/a>, the regional branch of the National Independent Venue Association that came together to advocate for the concert industry during the pandemic. NIVA California sees the governor’s announcement as a step in the right direction, and is also advocating for more financial support at the state level.\u003c/p>\n\u003cfigure id=\"attachment_13863765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/MG_7198-1-800x533.jpg\" alt=\"Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big argument for state funding is that the arts are an economic engine; NIVA California estimates that independent venues generated $13 billion for the state economy in 2019. “We are still hoping for financial support from the state of California so venues can once again be economic drivers and contribute to the cultural fabric of our communities,” Sarah Fink Dempsey, spokesperson for \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>, another NIVA member, tells KQED in an email.\u003c/p>\n\u003cp>Another Planet has already announced the return of its big festival, \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>, in October. Fink Dempsey says that the company is hopeful that its venues—which include Oakland’s Fox Theater and San Francisco’s Bill Graham Civic Auditorium and The Independent—will be back in business in August. “Obviously this is all still unfolding and is a dynamic situation, and [we] will only do so when it is deemed safe,” she adds. [aside postid='arts_13894172']\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ\u003c/a>, which is a nonprofit like The UC Theatre, may not host live shows until January 2022, says founder and executive artistic director Randall Kline. “It’s all fluid right now. If this were a linear, straight, directed path, it’d be easy to do,” he says. “But this virus in particular is unpredictable and we’re not sure where it’s all going to go. The variables are still huge in this—what is safe and how people are going to be able to gather.”\u003c/p>\n\u003cp>SFJAZZ books its programming a year out, and Kline predicts a challenge may be securing the big-name, touring artists who are already reeling from having numerous tours canceled over the last year. Those performers may wait until things stabilize. “We’re looking at artists in our backyard,“ says Kline, adding that numerous venues will be competing to book high-caliber Bay Area and California acts. “We’re going to be a little more regional for a little bit.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895353\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal Quartet performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Difficult as it may be to wrangle touring acts, Rob Ready of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> points out that many local artists may also need time to rehearse and perfect performances. “For most bands and most theater acts—or burlesque or drag performers or magicians—none of these folks have been able to be in same room as each other for over a year,” he says. While, before the pandemic, PianoFight typically hosted a wide variety of music and theater shows in its three rooms on a single night, it will likely scale down its offerings when it reopens in late summer or early fall because there may be fewer performers available.\u003c/p>\n\u003cp>So, when will fans be able to enjoy live music? And when will an industry that was the first to close and last to reopen be fully functional again? Each venue has a different answer, but it’s safe to expect that in a few months’ time—and with enough vaccines—we may be able to safely gather again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to include details about the San Francisco Symphony and a quote from Mark Hanson. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Some live music may return as early as June, but, for most venues, late summer is a more realistic expectation. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Governor Gavin Newsom announced yesterday that California would fully open its economy on June 15, provided there’s enough vaccine supply and COVID-19 hospitalizations remain low. Counties will abandon the color-coded tier system that allows certain businesses to operate at limited capacity, and instead will adopt a \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/Pages/COVID-19/beyond_memo.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">statewide reopening model\u003c/a>.\u003c/p>\n\u003cp>Theoretically, that means clubs, concert halls and ballrooms can invite guests at full capacity in two months—and put musicians, stage crews and venue staff back to work. (The new state guidelines stipulate that masks will still be mandatory, and conventions with over 5,000 attendees will require proof of vaccination or a negative COVID test.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If all goes according to plan, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, the free, outdoor live music series that takes place on weekends in San Francisco every summer, is planning to do just that. Executive director Bob Fiedler tells KQED he’s hopeful the festival can relaunch on June 20 with some COVID safety modifications.\u003c/p>\n\u003cp>Instead of allowing guests to come and go freely, there will be a fenced perimeter around the Stern Grove meadow and designated entry points. Reservations will be required, social distancing will be enforced and capacity will be down to about 3,000 from 10,000 in previous years. Pending approval from the San Francisco Department of Public Health, Stern Grove plans to announce its lineup and dates in about a month.\u003c/p>\n\u003cp>“As far as a bigger music festival, there’s a chance we’re going to be one of first ones back and we’re excited for that,” says Fiedler. “Music heals and it’s medicine, and the Bay Area and people in general can use that right now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfsymphony.org/About-SFS\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a> may also see an earlier return to live performances than anticipated. CEO Mark Hanson tells KQED that the orchestra will likely give several outdoor concerts in June, July and August, and that program details will be released in the coming month or two. Indoor performances may resume in the fall. “O\u003cspan class=\"s1\">ur planning continues now with an increased sense of confidence and belief that this will actually happen,” he says, adding that digital programming will continue on the orchestra’s streaming service, \u003ca href=\"https://www.sfsymphonyplus.org/?npclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE&utm_source=google&utm_medium=cpc&utm_term=sf%20symphony%20plus&utm_campaign=Brand+-+SFS%2B&gclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>For many indoor music venue owners, getting back to business may be a slower process. “The idea of reopening that soon is as scary as closing was a year ago,” says Lynn Schwarz, co-owner and talent buyer at \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a>, an intimate, dive-y San Francisco rock club with a capacity of 250 people.\u003c/p>\n\u003cfigure id=\"attachment_13852010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_0601-800x533.jpg\" alt=\"Super Unison's Meghan O'Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Super Unison’s Meghan O’Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwarz and her partners need capital to reopen. They’re applying to the \u003ca href=\"https://www.sba.gov/funding-programs/loans/covid-19-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> from the federal government, which would help take care of some of the bills and debt. They also need another Payroll Protection Program loan to rehire their staff and give them enough hours. That’s in addition to a litany of logistical tasks, like making sure appliances and sound equipment still work after a year of disuse, installing plastic barriers and better ventilation and switching from a cash-only to a touchless payment system. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We will be [financially] vulnerable for the whole of next year,” says Schwarz, adding that many of her venue owner peers have expressed similar concerns.\u003c/p>\n\u003cp>Schwarz has booked a handful of concerts for August with bands like Surfer Blood and King Buffalo, and is in the process of finalizing a few other dates before announcing an official grand reopening. “It’s going to be a mad dash to get the best local bands on the bill,” she says, adding that out-of-town acts may be slow to organize national tours.\u003c/p>\n\u003cp>Venues that book primarily touring acts may take even longer to get off the ground. “When we—our community, meaning music venues, promoters, artists, agents and managers—all feel that it makes sense to start up the tours and to tour the country, then it starts to become real and viable,” says David Mayeri, CEO of \u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The UC Theatre\u003c/a>, adding that concerts will likely resume in his 1,400-capacity Berkeley ballroom in September, possibly August. “A lot can happen between now and June 15 that will be positive; some things can happen that will be setbacks. We don’t know what to predict.”\u003c/p>\n\u003cp>Mayeri is an organizer with \u003ca href=\"https://nivacalifornia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NIVA California\u003c/a>, the regional branch of the National Independent Venue Association that came together to advocate for the concert industry during the pandemic. NIVA California sees the governor’s announcement as a step in the right direction, and is also advocating for more financial support at the state level.\u003c/p>\n\u003cfigure id=\"attachment_13863765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/MG_7198-1-800x533.jpg\" alt=\"Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big argument for state funding is that the arts are an economic engine; NIVA California estimates that independent venues generated $13 billion for the state economy in 2019. “We are still hoping for financial support from the state of California so venues can once again be economic drivers and contribute to the cultural fabric of our communities,” Sarah Fink Dempsey, spokesperson for \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>, another NIVA member, tells KQED in an email.\u003c/p>\n\u003cp>Another Planet has already announced the return of its big festival, \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>, in October. Fink Dempsey says that the company is hopeful that its venues—which include Oakland’s Fox Theater and San Francisco’s Bill Graham Civic Auditorium and The Independent—will be back in business in August. “Obviously this is all still unfolding and is a dynamic situation, and [we] will only do so when it is deemed safe,” she adds. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ\u003c/a>, which is a nonprofit like The UC Theatre, may not host live shows until January 2022, says founder and executive artistic director Randall Kline. “It’s all fluid right now. If this were a linear, straight, directed path, it’d be easy to do,” he says. “But this virus in particular is unpredictable and we’re not sure where it’s all going to go. The variables are still huge in this—what is safe and how people are going to be able to gather.”\u003c/p>\n\u003cp>SFJAZZ books its programming a year out, and Kline predicts a challenge may be securing the big-name, touring artists who are already reeling from having numerous tours canceled over the last year. Those performers may wait until things stabilize. “We’re looking at artists in our backyard,“ says Kline, adding that numerous venues will be competing to book high-caliber Bay Area and California acts. “We’re going to be a little more regional for a little bit.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895353\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal Quartet performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Difficult as it may be to wrangle touring acts, Rob Ready of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> points out that many local artists may also need time to rehearse and perfect performances. “For most bands and most theater acts—or burlesque or drag performers or magicians—none of these folks have been able to be in same room as each other for over a year,” he says. While, before the pandemic, PianoFight typically hosted a wide variety of music and theater shows in its three rooms on a single night, it will likely scale down its offerings when it reopens in late summer or early fall because there may be fewer performers available.\u003c/p>\n\u003cp>So, when will fans be able to enjoy live music? And when will an industry that was the first to close and last to reopen be fully functional again? Each venue has a different answer, but it’s safe to expect that in a few months’ time—and with enough vaccines—we may be able to safely gather again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include details about the San Francisco Symphony and a quote from Mark Hanson. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Three Bay Area Artists Imagine a Post-COVID-19 World",
"headTitle": "Three Bay Area Artists Imagine a Post-COVID-19 World | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A few months ago, the pandemic felt like it might never end. Folks took to Twitter to compare the return to “normal” to nearly impossible events like \u003c/span>\u003ca href=\"https://twitter.com/kiran_kaurrx/status/1351638739391545345?s=20\">\u003cspan style=\"font-weight: 400\">winning the lottery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> or a \u003c/span>\u003ca href=\"https://twitter.com/ClaryJessica/status/1353137347651641344?s=20\">\u003cspan style=\"font-weight: 400\">One Direction reunion.\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout the past year, almost all of us have experienced loss, grief, isolation and hopelessness in a way we hadn’t before. Now that people are getting vaccinated and things are starting to reopen, we’re looking to artists to help us imagine a better world without the restraint of COVID-19. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED Arts & Culture commissioned three local, \u003c/span>\u003cspan style=\"font-weight: 400\">interdisciplinary\u003c/span>\u003cspan style=\"font-weight: 400\"> artists to create original artwork around a central theme of reimagining what the future could look like post-pandemic. They created a visual piece, a song and a poem that we first shared on our \u003c/span>\u003ca href=\"https://www.instagram.com/kqedarts/\">\u003cspan style=\"font-weight: 400\">Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. People left heart emojis in the comments and said things like “Let’s make it real.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We hope their artwork can help reignite hope, challenge aspirations and create comfort for 2021.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CMlFLALh_nJ/\u003c/p>\n\u003ch2>\u003ca href=\"https://www.micahbazant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Micah Bazant\u003c/a>, visual artist\u003cbr>\n\u003ci>Everyone Housed on Ohlone Land\u003c/i>\u003c/h2>\n\u003cp>\u003cb>What are your hopes for a post-COVID-19 world?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a national housing crisis unfolds, my hope is that the Bay Area transforms from a national disgrace to a model of housing for all rooted in Indigenous reparations and land return. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How does your artwork translate that?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I imagined dense, beautiful, affordable co-housing that allows us to be interdependent and support each other through disability, illness and aging. In the foreground are the nopales/prickly pear catci/saber that are a symbol of Indigenous resistance and resilience from Mexico to Palestine.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s a piece of encouragement you’d like to share with the Bay Area creative community as we cross the one year anniversary of COVID-19?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Let’s imagine together and build a world where housing is a human right.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CM0XtXinQpN/\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eileenshoji.com/\">Eileen Sho Ji\u003c/a>, singer-songwriter\u003cbr>\n“Better Days”\u003c/h2>\n\u003cp>\u003cb>What are your hopes for a post-COVID-19 world?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I hope for all of us to become more deeply connected to one another, especially since we’re all collectively isolated experiencing this phenomenon together at the same time. It would be nice to come together in a post-COVID-19 world with a shared sense of acceptance of one another, like, “Hey, you went through this thing too!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In an “in-the-middle-of-COVID world,” as well as a post-COVID-19 one, it would be nice for the concept of “affording survival” to not be a thing, for housing and healthcare to be viewed as basic human rights and be free for all, for our government to stop valuing corporate profit over human life. Until that day comes though, I just hope we can all continue being there for each other as much as possible. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How does your artwork translate that?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My artwork translates that hope by putting it into words in the lyrics. We get caught up in concrete survival trying to meet our basic needs. And then once those are met, we’re faced with this abstract idea of an additional productivity that’s used to determine our self-worth. Meanwhile, we’re literally just animals on a rock in space.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s a piece of encouragement you’d like to share with the Bay Area creative community as we cross the one year anniversary of COVID-19?\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keep doing what you’re doing! Whatever that looks like for you. So many people have been creative powerhouses during the pandemic, leveling up their craft, adapting their craft to the current conditions in really creative ways. And a lot of us are also just trying to get through each day and taking things slower. It takes a lot to just get out of bed some days and that’s OK—it’s all OK. Everything is enough. Pandemic or not, I would just like to encourage everyone to remember to be kind to themselves and not place too much pressure on themselves to create or to do anything. We’re so much more than what we do or make.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CNGQOLMhFH2/\u003c/p>\n\u003ch2>\u003ca href=\"https://www.instagram.com/flavia_elisa_mora/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Flavia Elisa Mora\u003c/a>, poet and muralist\u003cbr>\n“Norte”\u003c/h2>\n\u003cp>\u003cb>What are your hopes for a post-COVID-19 world?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My hopes for a post-pandemic world are for certain communities and individuals, such as myself, to acknowledge and learn more about our privileges and the ways they can affect and harm others. This time has really highlighted inequity and its long history. Accountability is something the world really needs right now in order to begin doing the necessary repair work within marginalized communities.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How does your artwork translate that?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I believe my poem translates both the privilege and the accountability piece in the ways I describe white supremacy affecting Black, Indigenous and immigrant communities, amongst many others. I think I also make a point about not relying on the government for change. My piece instead highlights the power of the individual, the power of community and the power of our ancestor’s guidance. When I say “The water of our actions shall feed the flowers we bring to the dead,” I really mean that our positive and conscious choices moving forward will in some ways honor what’s been lost.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s a piece of encouragement you’d like to share with the Bay Area creative community as we cross the one year anniversary of COVID-19?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A piece of encouragement I’d like respectfully offer to the Bay Area community during these difficult times is to not be so hard on ourselves for not producing work at a certain rate. Creating art is much more sacred than that, and its value should not be in line with capitalism. We get to decide on our own beautiful creative journey.\u003c/span>\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>\u003ci>\u003cspan style=\"font-weight: 400\">We recognize this past year has been different for everyone. Here are some resources if you are \u003c/span>\u003c/i>\u003ca href=\"http://www.kqed.org/news/11859088/covid-19-and-personal-grief-advice-from-experts\">\u003ci>\u003cspan style=\"font-weight: 400\">grappling with grief\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> or struggling with \u003c/span>\u003c/i>\u003ca href=\"http://www.kqed.org/arts/13881725/where-to-find-affordable-culturally-competent-therapy-in-bay-area-and-beyond\">\u003ci>\u003cspan style=\"font-weight: 400\">mental health challenges\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A few months ago, the pandemic felt like it might never end. Folks took to Twitter to compare the return to “normal” to nearly impossible events like \u003c/span>\u003ca href=\"https://twitter.com/kiran_kaurrx/status/1351638739391545345?s=20\">\u003cspan style=\"font-weight: 400\">winning the lottery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> or a \u003c/span>\u003ca href=\"https://twitter.com/ClaryJessica/status/1353137347651641344?s=20\">\u003cspan style=\"font-weight: 400\">One Direction reunion.\u003c/span>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout the past year, almost all of us have experienced loss, grief, isolation and hopelessness in a way we hadn’t before. Now that people are getting vaccinated and things are starting to reopen, we’re looking to artists to help us imagine a better world without the restraint of COVID-19. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">KQED Arts & Culture commissioned three local, \u003c/span>\u003cspan style=\"font-weight: 400\">interdisciplinary\u003c/span>\u003cspan style=\"font-weight: 400\"> artists to create original artwork around a central theme of reimagining what the future could look like post-pandemic. They created a visual piece, a song and a poem that we first shared on our \u003c/span>\u003ca href=\"https://www.instagram.com/kqedarts/\">\u003cspan style=\"font-weight: 400\">Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. People left heart emojis in the comments and said things like “Let’s make it real.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We hope their artwork can help reignite hope, challenge aspirations and create comfort for 2021.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>\u003ca href=\"https://www.micahbazant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Micah Bazant\u003c/a>, visual artist\u003cbr>\n\u003ci>Everyone Housed on Ohlone Land\u003c/i>\u003c/h2>\n\u003cp>\u003cb>What are your hopes for a post-COVID-19 world?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a national housing crisis unfolds, my hope is that the Bay Area transforms from a national disgrace to a model of housing for all rooted in Indigenous reparations and land return. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How does your artwork translate that?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I imagined dense, beautiful, affordable co-housing that allows us to be interdependent and support each other through disability, illness and aging. In the foreground are the nopales/prickly pear catci/saber that are a symbol of Indigenous resistance and resilience from Mexico to Palestine.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s a piece of encouragement you’d like to share with the Bay Area creative community as we cross the one year anniversary of COVID-19?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Let’s imagine together and build a world where housing is a human right.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>\u003ca href=\"https://www.eileenshoji.com/\">Eileen Sho Ji\u003c/a>, singer-songwriter\u003cbr>\n“Better Days”\u003c/h2>\n\u003cp>\u003cb>What are your hopes for a post-COVID-19 world?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I hope for all of us to become more deeply connected to one another, especially since we’re all collectively isolated experiencing this phenomenon together at the same time. It would be nice to come together in a post-COVID-19 world with a shared sense of acceptance of one another, like, “Hey, you went through this thing too!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In an “in-the-middle-of-COVID world,” as well as a post-COVID-19 one, it would be nice for the concept of “affording survival” to not be a thing, for housing and healthcare to be viewed as basic human rights and be free for all, for our government to stop valuing corporate profit over human life. Until that day comes though, I just hope we can all continue being there for each other as much as possible. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How does your artwork translate that?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My artwork translates that hope by putting it into words in the lyrics. We get caught up in concrete survival trying to meet our basic needs. And then once those are met, we’re faced with this abstract idea of an additional productivity that’s used to determine our self-worth. Meanwhile, we’re literally just animals on a rock in space.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s a piece of encouragement you’d like to share with the Bay Area creative community as we cross the one year anniversary of COVID-19?\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keep doing what you’re doing! Whatever that looks like for you. So many people have been creative powerhouses during the pandemic, leveling up their craft, adapting their craft to the current conditions in really creative ways. And a lot of us are also just trying to get through each day and taking things slower. It takes a lot to just get out of bed some days and that’s OK—it’s all OK. Everything is enough. Pandemic or not, I would just like to encourage everyone to remember to be kind to themselves and not place too much pressure on themselves to create or to do anything. We’re so much more than what we do or make.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>\u003ca href=\"https://www.instagram.com/flavia_elisa_mora/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Flavia Elisa Mora\u003c/a>, poet and muralist\u003cbr>\n“Norte”\u003c/h2>\n\u003cp>\u003cb>What are your hopes for a post-COVID-19 world?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My hopes for a post-pandemic world are for certain communities and individuals, such as myself, to acknowledge and learn more about our privileges and the ways they can affect and harm others. This time has really highlighted inequity and its long history. Accountability is something the world really needs right now in order to begin doing the necessary repair work within marginalized communities.\u003c/span>\u003c/p>\n\u003cp>\u003cb>How does your artwork translate that?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I believe my poem translates both the privilege and the accountability piece in the ways I describe white supremacy affecting Black, Indigenous and immigrant communities, amongst many others. I think I also make a point about not relying on the government for change. My piece instead highlights the power of the individual, the power of community and the power of our ancestor’s guidance. When I say “The water of our actions shall feed the flowers we bring to the dead,” I really mean that our positive and conscious choices moving forward will in some ways honor what’s been lost.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s a piece of encouragement you’d like to share with the Bay Area creative community as we cross the one year anniversary of COVID-19?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A piece of encouragement I’d like respectfully offer to the Bay Area community during these difficult times is to not be so hard on ourselves for not producing work at a certain rate. Creating art is much more sacred than that, and its value should not be in line with capitalism. We get to decide on our own beautiful creative journey.\u003c/span>\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>\u003ci>\u003cspan style=\"font-weight: 400\">We recognize this past year has been different for everyone. Here are some resources if you are \u003c/span>\u003c/i>\u003ca href=\"http://www.kqed.org/news/11859088/covid-19-and-personal-grief-advice-from-experts\">\u003ci>\u003cspan style=\"font-weight: 400\">grappling with grief\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> or struggling with \u003c/span>\u003c/i>\u003ca href=\"http://www.kqed.org/arts/13881725/where-to-find-affordable-culturally-competent-therapy-in-bay-area-and-beyond\">\u003ci>\u003cspan style=\"font-weight: 400\">mental health challenges\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "6 Tips From a Therapist For Coping with Reopening Anxiety",
"headTitle": "6 Tips From a Therapist For Coping with Reopening Anxiety | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13895149/6-consejos-para-navegar-las-ansiedades-a-causa-de-las-reaperaturas-de-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Leer en español. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>Before the pandemic, Jorge Courtade spent Friday and Saturday nights making people dance as \u003ca href=\"https://juannydepp.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juanny Depp\u003c/a> of the DJ collective Amor Digital. And at his day job at \u003ca href=\"https://www.youthartexchange.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Art Exchange\u003c/a>, he worked with San Francisco high school students on creative projects and events at the nonprofit’s bustling \u003ca href=\"https://www.kqed.org/arts/13865613/sealed-for-10-years-an-excelsior-butcher-shop-becomes-a-vibrant-teen-art-space\" target=\"_blank\" rel=\"noopener noreferrer\">Excelsior District art space\u003c/a>.\u003c/p>\n\u003cp>With parties canceled and Youth Art Exchange programs mostly online, Courtade’s social circle has shrunk significantly over the past year. Before he got vaccinated, he rarely saw even his parents and closest friends.\u003c/p>\n\u003cp>But now that bars and movie theaters are partially reopened in many \u003ca href=\"https://www.kqed.org/science/1963889/coronavirus-some-bay-area-counties-are-about-to-open-up-more-heres-where-your-county-stands\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area counties\u003c/a>, and \u003ca href=\"https://www.kqed.org/news/11866646/california-expands-vaccine-eligibility\" target=\"_blank\" rel=\"noopener noreferrer\">Californians over the age of 16\u003c/a> will be eligible for the vaccine on April 15, he’s been dealing with an unexpected sense of anxiety. The idea of re-entering social life feels daunting even though he’s spent the last year missing how things used to be. “It feels like a disconnect between my desire and my hesitancy about going out to do leisurely-type activities,” he says.\u003c/p>\n\u003cp>“I think we’re all kind of coming through a collective, traumatic experience,” Courtade elaborates. “Even though I might be relatively protected from the virus, we spent a whole year trying to protect ourselves and others from it. I guess it’s kind of ingrained in my head; I don’t want to be around other people if I can avoid it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CNDkOIWhZAh/?igshid=18inoqxfjp6wx\u003c/p>\n\u003cp>Courtade isn’t alone. San Francisco psychotherapist \u003ca href=\"https://kenstampertherapy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ken Stamper\u003c/a> sees clients who’ve reported challenges navigating the new social environment as we all continue to grapple with the health concerns, fear and grief the past year has wrought.\u003c/p>\n\u003cp>Stamper says the pandemic has brought out a fundamental human fear about how much of the world is out of our control. “All the fears that kind of live in our subconscious—about ‘Are we safe?’—are really at the forefront now,” he says. [aside postid='arts_3886630']\u003c/p>\n\u003cp>In a recent interview, Stamper gave KQED readers a few tips for navigating the transition in the months ahead.\u003c/p>\n\u003ch2>Take Things Slow—and Beware of FOMO\u003c/h2>\n\u003cp>Everyone’s comfort level is going to be different, so it’s OK to meet yourself where you’re at. “I think there’s going to be a tension between that,” Stamper says. “I want to do all the things, and feeling anxiety about going out and doing all of the things—or some of the things or even one of the things.”\u003c/p>\n\u003cp>Stamper says it might be helpful to think of venturing out as exposure therapy. “You might start by just going out to a restaurant for an hour and being with someone that you feel safe with, and limiting it to a certain amount of time,” he says. [aside postid='arts_13894499']\u003c/p>\n\u003cp>Once you try out an activity you haven’t done in a while, be mindful of how you feel; remember that the past year has changed all of us. “It’s like when you’re really hungry and your eyes are bigger than what’s on your plate,“ Stamper says. “You have to listen to yourself when you’re full and not push yourself too far. And you might get full pretty quickly right now.”\u003c/p>\n\u003ch2>Listen to Your Body\u003c/h2>\n\u003cp>Stamper advises thinking ahead to what the activity will entail—and listening to what your body is telling you before, during and after going out. “Our body tells us a lot about what maybe we don’t want our head to recognize,” he says. “Maybe your heart’s beating fast. Maybe you’re feeling a surge of anxiety that you feel in your hands, your feet. Those things might happen. So you might want to ask yourself, is this something I really want to do?”\u003c/p>\n\u003cp>Mindfulness is a helpful tool to tap into what your body and intuition are telling you. Guided body scan meditations (where you check in with each body part and notice the sensations) can help you get in tune with those signals, and plenty of them are available on YouTube as well as apps like \u003ca href=\"https://insighttimer.com/\" target=\"_blank\" rel=\"noopener noreferrer\">InsightTimer\u003c/a> and \u003ca href=\"https://www.calm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Calm\u003c/a>.\u003c/p>\n\u003cp>If meditation isn’t your speed, wind down with a relaxing activity that helps you get grounded, like taking a walk and noticing your surroundings.\u003c/p>\n\u003ch2>Don’t Judge Yourself So Harshly\u003c/h2>\n\u003cp>After a year of looking over your shoulder at the grocery store, it’s normal that you might experience some anxiety about going out even if you’re vaccinated and have a very low chance of getting COVID. Acknowledging the anxiety is there and accepting it without judgment is often the first step to feeling better.\u003c/p>\n\u003cp>“I’m encouraging people to not beat themselves up if they feel like it’s too much and they want to leave—really give yourself permission to take care of yourself and not push yourself,” he says.\u003c/p>\n\u003cp>Stamper also notes that people might be temped to drink more to ease their discomfort in social situations. If that’s you, take it as another sign of stress and channel your attention to more constructive ways of coping. [aside postid='news_11864473']\u003c/p>\n\u003cp>“Everyone’s talking about how there might be this urge to get completely hedonistic. But some of that is actually blunting how we feel when we’re anxious,“ he says. “There’s nothing wrong with having a couple of drinks, necessarily. But I want people to really listen to themselves.”\u003c/p>\n\u003ch2>Be Mindful of COVID-19 Grief\u003c/h2>\n\u003cp>\u003ca href=\"https://www.axios.com/coronavirus-death-know-someone-263d12d2-9296-4547-8d57-e619f65d47e2.html\" target=\"_blank\" rel=\"noopener noreferrer\">One in three Americans\u003c/a> is grieving someone lost to COVID right now. So even though spring has sprung and it feels like a time for celebration, some of your social energy might be better spent seeking in-person support from people who’ve experienced a similar loss.\u003c/p>\n\u003cp>“In terms of going out again, we’re all thinking, woohoo, party, fun, all the things that we miss doing,” Stamper says. “But it’s important, especially if you’re experiencing grief, to understand that that might not actually be what you need, or it certainly might not be all of what you need.”\u003c/p>\n\u003cp>Although most grief support groups—and other mental health resources like 12-step programs—are still meeting online, they may go back to in-person in the coming months as case numbers go down in the Bay Area and more people get vaccinated. [aside postid='arts_13893843']\u003c/p>\n\u003cp>In addition to grieving loved ones, people are dealing with other forms of loss as well. “I think there is a lot of grief that teens are experiencing in terms of having lost a year of their adolescence that they’ll never get back,” Stamper says, noting that isolation has been particularly hard on young people, who are in a phase of development where they learn from socializing.\u003c/p>\n\u003cp>Meanwhile, parents might be torn between encouraging their kids to get out of the house and worrying for their safety. “I think one way to combat that is to do some activities together, to go out on the weekend and do some things with each other that feel safe and connecting,” he says, “that demonstrate to everyone that it’s OK to be out in the world again.”\u003c/p>\n\u003ch2>Put Anger in Perspective\u003c/h2>\n\u003cp>In addition to sadness and anxiety, many people are dealing with anger at the U.S. government for the failures of its COVID-19 response and the \u003ca href=\"https://slate.com/news-and-politics/2021/02/lancet-study-40-percent-u-s-covid-19-coronavirus-deaths-avoidable-unnecessary.html\" target=\"_blank\" rel=\"noopener noreferrer\">hundreds of thousands of unnecessary deaths\u003c/a>. Or they might feel resentment towards people who’ve refused to wear masks or get vaccinated, traveled unnecessarily or partook in other activities that lead to the spread of the virus.\u003c/p>\n\u003cp>“There’s lots of people who are doing things that you wouldn’t agree with. And that’s always going to be true,” Stamper says. “So it’s really important to not obsess on things that you can’t control. And of course, in the pandemic, everything was out of control. So our brains are kind of fighting for some control somewhere.”\u003c/p>\n\u003ch2>Seek Greater Meaning\u003c/h2>\n\u003cp>Grief experts say that “\u003ca href=\"https://www.latimes.com/entertainment-arts/books/story/2019-11-15/finding-meaning-david-kessler\" target=\"_blank\" rel=\"noopener noreferrer\">finding meaning\u003c/a>” is the sixth stage of healing. One way to do that could be to get involved in your community.\u003c/p>\n\u003cp>“There’s going to be a real urge for people to try and find meaning about what happened and find meaning in their experience,” says Stamper. “And I think volunteering could be a super powerful way to do that, to do something that’s a little bit bigger than just yourself.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The pandemic laid bare how fragile (and, in many cases, nonexistent) American social safety nets are, and pushed millions of people into poverty. The vaccine presents an opportunity for people to get involved in \u003ca href=\"https://www.kqed.org/arts/13889038/the-election-is-over-heres-how-you-can-keep-doing-the-work\" target=\"_blank\" rel=\"noopener noreferrer\">mutual aid efforts\u003c/a> like food drives and \u003ca href=\"https://www.kqed.org/arts/13892437/oaklanders-combat-chinatown-attacks-with-volunteering-mutual-aid\" target=\"_blank\" rel=\"noopener noreferrer\">helping elders in Oakland Chinatown\u003c/a>—or whatever activity aligns with their values.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13895149/6-consejos-para-navegar-las-ansiedades-a-causa-de-las-reaperaturas-de-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Leer en español. \u003c/em>\u003c/a>\u003c/p>\n\u003cp>Before the pandemic, Jorge Courtade spent Friday and Saturday nights making people dance as \u003ca href=\"https://juannydepp.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juanny Depp\u003c/a> of the DJ collective Amor Digital. And at his day job at \u003ca href=\"https://www.youthartexchange.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Art Exchange\u003c/a>, he worked with San Francisco high school students on creative projects and events at the nonprofit’s bustling \u003ca href=\"https://www.kqed.org/arts/13865613/sealed-for-10-years-an-excelsior-butcher-shop-becomes-a-vibrant-teen-art-space\" target=\"_blank\" rel=\"noopener noreferrer\">Excelsior District art space\u003c/a>.\u003c/p>\n\u003cp>With parties canceled and Youth Art Exchange programs mostly online, Courtade’s social circle has shrunk significantly over the past year. Before he got vaccinated, he rarely saw even his parents and closest friends.\u003c/p>\n\u003cp>But now that bars and movie theaters are partially reopened in many \u003ca href=\"https://www.kqed.org/science/1963889/coronavirus-some-bay-area-counties-are-about-to-open-up-more-heres-where-your-county-stands\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area counties\u003c/a>, and \u003ca href=\"https://www.kqed.org/news/11866646/california-expands-vaccine-eligibility\" target=\"_blank\" rel=\"noopener noreferrer\">Californians over the age of 16\u003c/a> will be eligible for the vaccine on April 15, he’s been dealing with an unexpected sense of anxiety. The idea of re-entering social life feels daunting even though he’s spent the last year missing how things used to be. “It feels like a disconnect between my desire and my hesitancy about going out to do leisurely-type activities,” he says.\u003c/p>\n\u003cp>“I think we’re all kind of coming through a collective, traumatic experience,” Courtade elaborates. “Even though I might be relatively protected from the virus, we spent a whole year trying to protect ourselves and others from it. I guess it’s kind of ingrained in my head; I don’t want to be around other people if I can avoid it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Courtade isn’t alone. San Francisco psychotherapist \u003ca href=\"https://kenstampertherapy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ken Stamper\u003c/a> sees clients who’ve reported challenges navigating the new social environment as we all continue to grapple with the health concerns, fear and grief the past year has wrought.\u003c/p>\n\u003cp>Stamper says the pandemic has brought out a fundamental human fear about how much of the world is out of our control. “All the fears that kind of live in our subconscious—about ‘Are we safe?’—are really at the forefront now,” he says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a recent interview, Stamper gave KQED readers a few tips for navigating the transition in the months ahead.\u003c/p>\n\u003ch2>Take Things Slow—and Beware of FOMO\u003c/h2>\n\u003cp>Everyone’s comfort level is going to be different, so it’s OK to meet yourself where you’re at. “I think there’s going to be a tension between that,” Stamper says. “I want to do all the things, and feeling anxiety about going out and doing all of the things—or some of the things or even one of the things.”\u003c/p>\n\u003cp>Stamper says it might be helpful to think of venturing out as exposure therapy. “You might start by just going out to a restaurant for an hour and being with someone that you feel safe with, and limiting it to a certain amount of time,” he says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once you try out an activity you haven’t done in a while, be mindful of how you feel; remember that the past year has changed all of us. “It’s like when you’re really hungry and your eyes are bigger than what’s on your plate,“ Stamper says. “You have to listen to yourself when you’re full and not push yourself too far. And you might get full pretty quickly right now.”\u003c/p>\n\u003ch2>Listen to Your Body\u003c/h2>\n\u003cp>Stamper advises thinking ahead to what the activity will entail—and listening to what your body is telling you before, during and after going out. “Our body tells us a lot about what maybe we don’t want our head to recognize,” he says. “Maybe your heart’s beating fast. Maybe you’re feeling a surge of anxiety that you feel in your hands, your feet. Those things might happen. So you might want to ask yourself, is this something I really want to do?”\u003c/p>\n\u003cp>Mindfulness is a helpful tool to tap into what your body and intuition are telling you. Guided body scan meditations (where you check in with each body part and notice the sensations) can help you get in tune with those signals, and plenty of them are available on YouTube as well as apps like \u003ca href=\"https://insighttimer.com/\" target=\"_blank\" rel=\"noopener noreferrer\">InsightTimer\u003c/a> and \u003ca href=\"https://www.calm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Calm\u003c/a>.\u003c/p>\n\u003cp>If meditation isn’t your speed, wind down with a relaxing activity that helps you get grounded, like taking a walk and noticing your surroundings.\u003c/p>\n\u003ch2>Don’t Judge Yourself So Harshly\u003c/h2>\n\u003cp>After a year of looking over your shoulder at the grocery store, it’s normal that you might experience some anxiety about going out even if you’re vaccinated and have a very low chance of getting COVID. Acknowledging the anxiety is there and accepting it without judgment is often the first step to feeling better.\u003c/p>\n\u003cp>“I’m encouraging people to not beat themselves up if they feel like it’s too much and they want to leave—really give yourself permission to take care of yourself and not push yourself,” he says.\u003c/p>\n\u003cp>Stamper also notes that people might be temped to drink more to ease their discomfort in social situations. If that’s you, take it as another sign of stress and channel your attention to more constructive ways of coping. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone’s talking about how there might be this urge to get completely hedonistic. But some of that is actually blunting how we feel when we’re anxious,“ he says. “There’s nothing wrong with having a couple of drinks, necessarily. But I want people to really listen to themselves.”\u003c/p>\n\u003ch2>Be Mindful of COVID-19 Grief\u003c/h2>\n\u003cp>\u003ca href=\"https://www.axios.com/coronavirus-death-know-someone-263d12d2-9296-4547-8d57-e619f65d47e2.html\" target=\"_blank\" rel=\"noopener noreferrer\">One in three Americans\u003c/a> is grieving someone lost to COVID right now. So even though spring has sprung and it feels like a time for celebration, some of your social energy might be better spent seeking in-person support from people who’ve experienced a similar loss.\u003c/p>\n\u003cp>“In terms of going out again, we’re all thinking, woohoo, party, fun, all the things that we miss doing,” Stamper says. “But it’s important, especially if you’re experiencing grief, to understand that that might not actually be what you need, or it certainly might not be all of what you need.”\u003c/p>\n\u003cp>Although most grief support groups—and other mental health resources like 12-step programs—are still meeting online, they may go back to in-person in the coming months as case numbers go down in the Bay Area and more people get vaccinated. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to grieving loved ones, people are dealing with other forms of loss as well. “I think there is a lot of grief that teens are experiencing in terms of having lost a year of their adolescence that they’ll never get back,” Stamper says, noting that isolation has been particularly hard on young people, who are in a phase of development where they learn from socializing.\u003c/p>\n\u003cp>Meanwhile, parents might be torn between encouraging their kids to get out of the house and worrying for their safety. “I think one way to combat that is to do some activities together, to go out on the weekend and do some things with each other that feel safe and connecting,” he says, “that demonstrate to everyone that it’s OK to be out in the world again.”\u003c/p>\n\u003ch2>Put Anger in Perspective\u003c/h2>\n\u003cp>In addition to sadness and anxiety, many people are dealing with anger at the U.S. government for the failures of its COVID-19 response and the \u003ca href=\"https://slate.com/news-and-politics/2021/02/lancet-study-40-percent-u-s-covid-19-coronavirus-deaths-avoidable-unnecessary.html\" target=\"_blank\" rel=\"noopener noreferrer\">hundreds of thousands of unnecessary deaths\u003c/a>. Or they might feel resentment towards people who’ve refused to wear masks or get vaccinated, traveled unnecessarily or partook in other activities that lead to the spread of the virus.\u003c/p>\n\u003cp>“There’s lots of people who are doing things that you wouldn’t agree with. And that’s always going to be true,” Stamper says. “So it’s really important to not obsess on things that you can’t control. And of course, in the pandemic, everything was out of control. So our brains are kind of fighting for some control somewhere.”\u003c/p>\n\u003ch2>Seek Greater Meaning\u003c/h2>\n\u003cp>Grief experts say that “\u003ca href=\"https://www.latimes.com/entertainment-arts/books/story/2019-11-15/finding-meaning-david-kessler\" target=\"_blank\" rel=\"noopener noreferrer\">finding meaning\u003c/a>” is the sixth stage of healing. One way to do that could be to get involved in your community.\u003c/p>\n\u003cp>“There’s going to be a real urge for people to try and find meaning about what happened and find meaning in their experience,” says Stamper. “And I think volunteering could be a super powerful way to do that, to do something that’s a little bit bigger than just yourself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"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.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"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"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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}
