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"content": "\u003cp>To save us all some time, I’m going to start this by being blunt. A lot of my friends are dead. Romantic partners, roommates, high school friends, college friends, music scene friends, co-workers—too many to mention by name here. I can tell you that the youngest was 15 and the oldest was 47. And that there have been cancers, vehicular collisions, strokes, suicides, freak accidents, substance abuse, mental health problems, and one random act of violence.\u003c/p>\n\u003cp>It doesn’t get easier, but you do get less surprised the more that it happens.\u003c/p>\n\u003cp>I get the sense that more people understand that now than maybe did a year ago. Because in that time, of course, well over half a million American lives were lost to COVID-19. That’s too many to even comprehend, but calculations say a third of the country’s population lost someone. And I believe it. Because in the last 12 months—for the first time in my entire life—it has felt like the whole world stepped through the curtain and joined me in the waiting room.\u003c/p>\n\u003cp>Mourning one death while cautiously anticipating the next is not, as my mother has been fond of reminding me for years, “normal.” But we’re all in here now. In one way or another. [aside postid='news_11859088']\u003c/p>\n\u003cp>The thing with grief is that it does things to you that no one ever warns you about. Yes, grief is random and different each time, depending on who you are and who you’ve lost. But there are also a few things I wish I’d known earlier—the stuff that nobody wants to tell you because it probably sounds too harsh. But I do believe that knowing these things helps you move through grief better prepared, and stronger for it. And, as we ease out of this pandemic and start the business of all of this painful processing, we need all the help we can get. So I wanted to share some things I have learned the hard way (i.e. by doing it wrong).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[Please note that the following is based purely on personal experience and may not be applicable to everyone. I am not a mental health professional; I’m just a journalist who’s done this a lot.]\u003c/p>\n\u003cp>\u003cstrong>1. Ignore the Concept of Finite Stages of Grief\u003c/strong>\u003c/p>\n\u003cp>One of the biggest mistakes I ever made, grief-wise, was to assume that the \u003ca href=\"https://www.verywellmind.com/five-stages-of-grief-4175361\" target=\"_blank\" rel=\"noopener noreferrer\">five\u003c/a> stages (or \u003ca href=\"https://www.healthline.com/health/stages-of-grief\" target=\"_blank\" rel=\"noopener noreferrer\">seven\u003c/a>—depends who you ask) would just happen over time, in due process, and then I’d go back to normal. That is not what happens. Grief is not orderly. Worse, the idea of finite stages implies an end point to grieving. Trust me when I say you won’t necessarily get to an end point. Sometimes grief stays with you forever. It is far better to prepare for that eventuality than to assume it will all cease to hurt once you’ve ticked your way down the list.\u003c/p>\n\u003cp>\u003cstrong>2. Be Prepared For Loopy Thoughts\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.goodreads.com/book/show/7815.The_Year_of_Magical_Thinking\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Didion’s \u003cem>The Year of Magical Thinking\u003c/em>\u003c/a> was the first account of grief I ever read in which the writer unabashedly acknowledged the bizarre trips your brain takes you on after someone you love dies. And I cannot describe the relief of knowing I was not on my own. To give you a good example from the book, two months after her husband’s sudden death, Didion details packing up his clothing to give away. She has been encouraged to do this by various loved ones so is trying her best to get on with it.\u003c/p>\n\u003cp>Didion writes:\u003c/p>\n\u003cblockquote>\u003cp>I was not yet prepared to address the suits and shirts and jackets but I thought I could handle what remained of the shoes, a start.\u003c/p>\n\u003cp>I stopped at the door to the room.\u003c/p>\n\u003cp>I could not give away the rest of his shoes.\u003c/p>\n\u003cp>I stood there for a moment, then realized why: he would need shoes if he was to return.\u003c/p>\n\u003cp>The recognition of this thought by no means eradicated the thought.\u003c/p>\u003c/blockquote>\n\u003cp>This is actually normal.\u003c/p>\n\u003cp>\u003cstrong>3. Time Doesn’t Heal All Wounds\u003c/strong>\u003c/p>\n\u003cp>I’m really sorry about this one. I am. But I strongly suspect that “time heals all wounds” is a lie someone made up to stop someone else from crying. Hoping time alone is going to heal your grief is like assuming a severed finger is going to grow back just because you want it to.\u003c/p>\n\u003cp>Back in 2013, my husband died suddenly. It is, far and away, the single worst thing that has ever happened to me. But because I was under the impression that time was an almighty healer back then, I thought all I had to do was white knuckle it for long enough and the agony would dissipate. It didn’t. And when it still hadn’t gone away three years later, in my confused, exhausted state, I convinced myself that my “grief energy” had worked its way into my home and was preventing me from healing. (See: No. 2.) I responded to this suspicion by cutting off all my hair, giving away all my furniture, and moving to Texas.\u003c/p>\n\u003cp>I recognize now that I was having a very organized, very quiet, very geographically ambitious breakdown. But that’s what relying too heavily on time fixing stuff gets you.\u003c/p>\n\u003cp>\u003cstrong>4. You Can’t Go Back\u003c/strong>[aside postid='pop_105551']\u003c/p>\n\u003cp>It took me an embarrassingly long time to figure this out, but getting over a death is not about getting back to who you were and how you felt before the loss. That, unfortunately, is impossible. Death leaves slashes across your life, dividing it into ‘before’ and ‘after’ segments. As such, you have to learn how to treasure the before without hanging onto it too tightly—doing so will stop you from moving forward into the after. It takes a while to get to grips with this one, but knowing you eventually have to might help you get there quicker.\u003c/p>\n\u003cp>\u003cstrong>5. Everything Doesn’t Happen For a Reason\u003c/strong>\u003c/p>\n\u003cp>When you are in mourning, a lot of people will tell you everything happens for a reason. These people are well-meaning, but absolutely infuriating. Sometimes terrible things just happen and are impossible to make sense of. Please don’t waste your energy on trying to find meaning where there is none. Focus instead on the healing you’ve got to do—it’s time much better spent.\u003c/p>\n\u003cp>\u003cstrong>6. Your Body Might Feel Permanently Different\u003c/strong>\u003c/p>\n\u003cp>Deep grief for a lot of people feels a lot like being hollowed out and weighed down simultaneously. At the start, that extra weight you feel is unwieldy and exhausting and it can drag you down to the point of depressed immobility. You think you’ll never be able to carry it on your own. And there’s a good chance that your friends and family \u003cem>are\u003c/em> going to need to help you shoulder that burden. After a while though, you do figure out how to carry the weight on your own. And after a long time, you’ll have entire days and weeks where you don’t even notice it. After an accident or an operation, there is a period of figuring out how to function in your new body. Sometimes grief necessitates a form of physical recovery as well.\u003c/p>\n\u003cp>\u003cstrong>7. Don’t Forget to Cry When You Want To\u003c/strong>\u003c/p>\n\u003cp>It sounds so basic, I know. But culturally, we are not in a place where we can all just burst into tears whenever we feel like it—even in a pandemic. And holding it in is legit bad for you.\u003c/p>\n\u003cp>In the first half of 2020, I lost two friends in three days, and then my dog died. In the second half of 2020, I was suddenly afflicted with severe and chronic back pain that massage, physiotherapy and acupressure all failed to fix. The thing that rid me of it in the end? Energy work that was performed by a concerned friend \u003cem>over the phone\u003c/em>. (I didn’t even know such a thing existed.) The many distractions and stresses of 2020 meant I had not been crying enough. My body needed me to stop and let it happen, and it physically hurt me until I finally did.\u003c/p>\n\u003cp>\u003cstrong>8. Using Alcohol and/or Weed is Fine\u003c/strong>\u003c/p>\n\u003cp>If you’re grieving, unless sobriety is something you’ve been actively working towards or living with, do not beat yourself up for wanting to take the edge off. A lot of professionals don’t feel okay admitting this out loud, but which is better: staying up for three days with raging grief-insomnia or drinking a glass of whiskey and/or smoking some indica, so you can actually get some rest? Using alcohol or any other substance as a daily crutch is not going to go well in the long term. But grabbing a break from the pain every now and again is perfectly fine—unless you are an addict or risk harming others by imbibing.\u003c/p>\n\u003cp>\u003cstrong>9. You Already Know You Need Therapy, Right? \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Of course you do. Every grief column on the internet says so. But it bears repeating, even on a list of things that people don’t usually tell you. I have mourned with and without a therapist—and \u003cem>with\u003c/em> is definitely better. Last summer, KQED’s Nastia Voynovskaya, compiled a list of \u003ca href=\"https://www.kqed.org/arts/13881725/where-to-find-affordable-culturally-competent-therapy-in-bay-area-and-beyond\" target=\"_blank\" rel=\"noopener noreferrer\">affordable, sliding scale and culturally competent therapy\u003c/a> options in the Bay Area. If you can access any of these resources, you will more than likely benefit. And if you are unable to, please seek advice elsewhere. I recommend utilizing grief podcasts, Facebook grief pages and local help groups. Because knowing you’re not on your own is half the battle. And after the last 12 months? Well, you are definitely not alone.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>[Please note that the following is based purely on personal experience and may not be applicable to everyone. I am not a mental health professional; I’m just a journalist who’s done this a lot.]\u003c/p>\n\u003cp>\u003cstrong>1. Ignore the Concept of Finite Stages of Grief\u003c/strong>\u003c/p>\n\u003cp>One of the biggest mistakes I ever made, grief-wise, was to assume that the \u003ca href=\"https://www.verywellmind.com/five-stages-of-grief-4175361\" target=\"_blank\" rel=\"noopener noreferrer\">five\u003c/a> stages (or \u003ca href=\"https://www.healthline.com/health/stages-of-grief\" target=\"_blank\" rel=\"noopener noreferrer\">seven\u003c/a>—depends who you ask) would just happen over time, in due process, and then I’d go back to normal. That is not what happens. Grief is not orderly. Worse, the idea of finite stages implies an end point to grieving. Trust me when I say you won’t necessarily get to an end point. Sometimes grief stays with you forever. It is far better to prepare for that eventuality than to assume it will all cease to hurt once you’ve ticked your way down the list.\u003c/p>\n\u003cp>\u003cstrong>2. Be Prepared For Loopy Thoughts\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.goodreads.com/book/show/7815.The_Year_of_Magical_Thinking\" target=\"_blank\" rel=\"noopener noreferrer\">Joan Didion’s \u003cem>The Year of Magical Thinking\u003c/em>\u003c/a> was the first account of grief I ever read in which the writer unabashedly acknowledged the bizarre trips your brain takes you on after someone you love dies. And I cannot describe the relief of knowing I was not on my own. To give you a good example from the book, two months after her husband’s sudden death, Didion details packing up his clothing to give away. She has been encouraged to do this by various loved ones so is trying her best to get on with it.\u003c/p>\n\u003cp>Didion writes:\u003c/p>\n\u003cblockquote>\u003cp>I was not yet prepared to address the suits and shirts and jackets but I thought I could handle what remained of the shoes, a start.\u003c/p>\n\u003cp>I stopped at the door to the room.\u003c/p>\n\u003cp>I could not give away the rest of his shoes.\u003c/p>\n\u003cp>I stood there for a moment, then realized why: he would need shoes if he was to return.\u003c/p>\n\u003cp>The recognition of this thought by no means eradicated the thought.\u003c/p>\u003c/blockquote>\n\u003cp>This is actually normal.\u003c/p>\n\u003cp>\u003cstrong>3. Time Doesn’t Heal All Wounds\u003c/strong>\u003c/p>\n\u003cp>I’m really sorry about this one. I am. But I strongly suspect that “time heals all wounds” is a lie someone made up to stop someone else from crying. Hoping time alone is going to heal your grief is like assuming a severed finger is going to grow back just because you want it to.\u003c/p>\n\u003cp>Back in 2013, my husband died suddenly. It is, far and away, the single worst thing that has ever happened to me. But because I was under the impression that time was an almighty healer back then, I thought all I had to do was white knuckle it for long enough and the agony would dissipate. It didn’t. And when it still hadn’t gone away three years later, in my confused, exhausted state, I convinced myself that my “grief energy” had worked its way into my home and was preventing me from healing. (See: No. 2.) I responded to this suspicion by cutting off all my hair, giving away all my furniture, and moving to Texas.\u003c/p>\n\u003cp>I recognize now that I was having a very organized, very quiet, very geographically ambitious breakdown. But that’s what relying too heavily on time fixing stuff gets you.\u003c/p>\n\u003cp>\u003cstrong>4. You Can’t Go Back\u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It took me an embarrassingly long time to figure this out, but getting over a death is not about getting back to who you were and how you felt before the loss. That, unfortunately, is impossible. Death leaves slashes across your life, dividing it into ‘before’ and ‘after’ segments. As such, you have to learn how to treasure the before without hanging onto it too tightly—doing so will stop you from moving forward into the after. It takes a while to get to grips with this one, but knowing you eventually have to might help you get there quicker.\u003c/p>\n\u003cp>\u003cstrong>5. Everything Doesn’t Happen For a Reason\u003c/strong>\u003c/p>\n\u003cp>When you are in mourning, a lot of people will tell you everything happens for a reason. These people are well-meaning, but absolutely infuriating. Sometimes terrible things just happen and are impossible to make sense of. Please don’t waste your energy on trying to find meaning where there is none. Focus instead on the healing you’ve got to do—it’s time much better spent.\u003c/p>\n\u003cp>\u003cstrong>6. Your Body Might Feel Permanently Different\u003c/strong>\u003c/p>\n\u003cp>Deep grief for a lot of people feels a lot like being hollowed out and weighed down simultaneously. At the start, that extra weight you feel is unwieldy and exhausting and it can drag you down to the point of depressed immobility. You think you’ll never be able to carry it on your own. And there’s a good chance that your friends and family \u003cem>are\u003c/em> going to need to help you shoulder that burden. After a while though, you do figure out how to carry the weight on your own. And after a long time, you’ll have entire days and weeks where you don’t even notice it. After an accident or an operation, there is a period of figuring out how to function in your new body. Sometimes grief necessitates a form of physical recovery as well.\u003c/p>\n\u003cp>\u003cstrong>7. Don’t Forget to Cry When You Want To\u003c/strong>\u003c/p>\n\u003cp>It sounds so basic, I know. But culturally, we are not in a place where we can all just burst into tears whenever we feel like it—even in a pandemic. And holding it in is legit bad for you.\u003c/p>\n\u003cp>In the first half of 2020, I lost two friends in three days, and then my dog died. In the second half of 2020, I was suddenly afflicted with severe and chronic back pain that massage, physiotherapy and acupressure all failed to fix. The thing that rid me of it in the end? Energy work that was performed by a concerned friend \u003cem>over the phone\u003c/em>. (I didn’t even know such a thing existed.) The many distractions and stresses of 2020 meant I had not been crying enough. My body needed me to stop and let it happen, and it physically hurt me until I finally did.\u003c/p>\n\u003cp>\u003cstrong>8. Using Alcohol and/or Weed is Fine\u003c/strong>\u003c/p>\n\u003cp>If you’re grieving, unless sobriety is something you’ve been actively working towards or living with, do not beat yourself up for wanting to take the edge off. A lot of professionals don’t feel okay admitting this out loud, but which is better: staying up for three days with raging grief-insomnia or drinking a glass of whiskey and/or smoking some indica, so you can actually get some rest? Using alcohol or any other substance as a daily crutch is not going to go well in the long term. But grabbing a break from the pain every now and again is perfectly fine—unless you are an addict or risk harming others by imbibing.\u003c/p>\n\u003cp>\u003cstrong>9. You Already Know You Need Therapy, Right? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course you do. Every grief column on the internet says so. But it bears repeating, even on a list of things that people don’t usually tell you. I have mourned with and without a therapist—and \u003cem>with\u003c/em> is definitely better. Last summer, KQED’s Nastia Voynovskaya, compiled a list of \u003ca href=\"https://www.kqed.org/arts/13881725/where-to-find-affordable-culturally-competent-therapy-in-bay-area-and-beyond\" target=\"_blank\" rel=\"noopener noreferrer\">affordable, sliding scale and culturally competent therapy\u003c/a> options in the Bay Area. If you can access any of these resources, you will more than likely benefit. And if you are unable to, please seek advice elsewhere. I recommend utilizing grief podcasts, Facebook grief pages and local help groups. Because knowing you’re not on your own is half the battle. And after the last 12 months? Well, you are definitely not alone.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few weeks ago—for the first time in an entire year—I went to see a piece of live theater.\u003c/p>\n\u003cp>As befits these times, \u003ca href=\"https://oaklandtheaterproject.org/binding-ties\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Theater Project\u003c/a>’s latest production, \u003cem>Binding Ties: The 16th Street Station,\u003c/em> was a drive-in experience. It took place in the parking lot outside the historic railroad terminus in West Oakland mentioned in the show’s title. It used the setting as the backdrop for a story about the Black and immigrant Oaklanders who once worked on the railroad.\u003c/p>\n\u003cp>We all sat in our cars, peering through our windshields, as the voice of actor William Oliver III was piped in through our radios.\u003c/p>\n\u003cp>“Oakland is some kind of town, ain’t it?” enthused Oliver, launching into his lines in the guise of a railroad worker with uniform and cap. The audience of cars honked back at him in response.\u003c/p>\n\u003cp>Drive-in shows. Online fundraisers. Rehearsals via Zoom. Welcome to the new reality of producing art in the Bay Area a year into COVID-19. The pandemic has been grueling—as well as transformative—for the local arts community. And now its constituents are using what they’ve learned over the past 12 months to help navigate the road ahead.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland Theater Project, for one, has planned its entire new season around the drive-in experience.\u003c/p>\n\u003cp>“This is something we could ask people to come to and still feel like we’re keeping them safe,” says Oakland Theater Project co-artistic director William Thomas Hodgson.\u003c/p>\n\u003cp>Hodgson wants to get audiences out of their cars and into the theater again. But there are some aspects to producing shows in a pandemic that he hopes will stick around—like paying actors a fairer wage.\u003c/p>\n\u003cp>He says his company has been able to up its pay by 50% over last year. That’s possible in a season like this one, where the maximum cast size is five. But this community-oriented company is known for producing shows with much bigger forces.\u003c/p>\n\u003cp>“We’re committed to this. We’re gonna do it,” Hodgson says. “But our mainstay at Oakland Theater Project has been these large cast productions. I don’t know what that looks like in the future.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Opera San José Presents: Wagner's The Flying Dutchman\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/gylTi_haPE0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Similarly to Oakland Theater Project, \u003ca href=\"https://www.operasj.org/?gclid=Cj0KCQiA-aGCBhCwARIsAHDl5x-BWCh9gw6WSala3s5O5jzxt7xQrCNo9z5g5BKRV6pKrUrDkO-soQ0aAgqoEALw_wcB\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a> also hopes one day to return to big productions, like its staging of \u003cem>The Flying Dutchman\u003c/em> from 2018, which featured an orchestra, chorus and soloists and required several hours of the audience’s attention.\u003c/p>\n\u003cp>But the pandemic has inspired Opera San Jose to lean into producing one-act and chamber works with small casts and shorter timeframes going forward. One recent example is the company’s video-streamed take on \u003cem>Three Decembers\u003c/em>, a 90-minute-long chamber opera with a trio of performers and piano accompaniment.\u003c/p>\n\u003cp>“Shorter evenings reduce risk and help patrons feel more comfortable,” says Opera San Jose general director Khori Dastoor. “They make a lot of sense to welcome new audiences.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"The Making of THREE DECEMBERS\"' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uTIVoS4o7R8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dastoor is investing heavily in digital tools and training, including offering video content translated into Spanish and Vietnamese. She says her audience is expanding as a result of these efforts, with several thousand new households tuning in this past year versus around several hundred in previous years, both locally and from places as far flung as Germany and Japan.\u003c/p>\n\u003cp>She says her donor base is holding, but she recognizes some traditional opera lovers might not be on board with the digital revolution.\u003c/p>\n\u003cp>“My anxiety and concern is how long it takes for us to get to a model where the people we’ve lost because of our pivot are offset by the new people that are engaging with us for the first time,” Dastoor says.\u003c/p>\n\u003cp>The bicoastal contemporary dance company \u003ca href=\"https://rawdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">RAWdance\u003c/a> (based in San Francisco and Hudson Valley, New York) has also been able to reach new audiences with virtual content during the pandemic. In January, the group presented the video world premiere of \u003cem>The Healer,\u003c/em> a work for four dancers in flowing, pleated skirts inspired in part by the COVID-19 pandemic. The piece explores humans’ ability to overcome physical and emotional suffering through the theme of traditional Chinese medicine and holistic practices.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Trailer: \"The Healer\" (2021)' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/aAMtkWTocgk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>RAWdance co-artistic director Katerina Wong says her company has been working hard to adapt a three-dimensional art form to the two-dimensional screen.\u003c/p>\n\u003cp>“How do we still create that sense of connection and intimacy and communication, when so many of us are sitting and watching lots of Netflix or on back to back Zoom calls? It’s really hard to cut through that,” Wong says.\u003c/p>\n\u003cp>Wong says producing high quality video is expensive, especially for small dance companies like hers, but it’s something she plans to pursue even after the pandemic is over. A major financial challenge her company faces is figuring out how to expand access to the art form without sacrificing the quality of live performances when they return.\u003c/p>\n\u003cp>RAWdance relies on donations and grants for survival, including funding from the City of San Francisco. Wong and fellow co-directors Wendy Rein and Ryan T. Smith want to see more government support.\u003c/p>\n\u003cp>“What feels so essential, being located in these cities, is that it’s the signaling of the significance of artists in the community to be culture bearers and culture makers,” Wong says. “And I hope that that can be acknowledged by funding support.”\u003c/p>\n\u003cp>San Francisco Mayor London Breed just announced a proposal to provide $17 million in one-time support to local arts groups. The city’s board of supervisors is expected to discuss the proposal on Mar. 17. But one of the main sources of arts funding, the hotel tax, is down by nearly 90% since last year, and arts groups are worried about making it through.\u003c/p>\n\u003cp>“The short term prognosis is not good,” says San Francisco-based indie band manager \u003ca href=\"https://en.wikipedia.org/wiki/Jordan_Kurland\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Kurland\u003c/a>. He \u003ca href=\"https://brilliantcorners.com/\" target=\"_blank\" rel=\"noopener noreferrer\">represents\u003c/a> groups like \u003ca href=\"https://brilliantcorners.com/#/death-cab-for-cutie/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Cab for Cutie\u003c/a>, \u003ca href=\"https://brilliantcorners.com/#/the-new-pornographers/\" target=\"_blank\" rel=\"noopener noreferrer\">The New Pornographers\u003c/a> and the Bay Area’s own \u003ca href=\"https://brilliantcorners.com/#/toro-y-moi/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>Kurland also sits on the boards of several local arts nonprofits including \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Lab\u003c/a> and the \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, and says the Bay Area community isn’t just desperate for \u003cem>local\u003c/em> government support. They’re also waiting for \u003cem>federal\u003c/em> aid to materialize from the so-called \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Save our Stages Act\u003c/a>, a $15 billion aid package signed into law last December.\u003c/p>\n\u003cp>“That is going to provide some relief,” Kurland says. “But the application process has not begun.”\u003c/p>\n\u003cp>Yet the resilience and creativity he’s seeing across the Bay Area arts community gives Kurland reason for hope. For starters rents have been dropping in the Bay Area. And, he says, as the Bay Area becomes more affordable, the local arts community will bounce back.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think there’s opportunity right now,” Kurland says. “I think that is a silver lining from the pandemic.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago—for the first time in an entire year—I went to see a piece of live theater.\u003c/p>\n\u003cp>As befits these times, \u003ca href=\"https://oaklandtheaterproject.org/binding-ties\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Theater Project\u003c/a>’s latest production, \u003cem>Binding Ties: The 16th Street Station,\u003c/em> was a drive-in experience. It took place in the parking lot outside the historic railroad terminus in West Oakland mentioned in the show’s title. It used the setting as the backdrop for a story about the Black and immigrant Oaklanders who once worked on the railroad.\u003c/p>\n\u003cp>We all sat in our cars, peering through our windshields, as the voice of actor William Oliver III was piped in through our radios.\u003c/p>\n\u003cp>“Oakland is some kind of town, ain’t it?” enthused Oliver, launching into his lines in the guise of a railroad worker with uniform and cap. The audience of cars honked back at him in response.\u003c/p>\n\u003cp>Drive-in shows. Online fundraisers. Rehearsals via Zoom. Welcome to the new reality of producing art in the Bay Area a year into COVID-19. The pandemic has been grueling—as well as transformative—for the local arts community. And now its constituents are using what they’ve learned over the past 12 months to help navigate the road ahead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland Theater Project, for one, has planned its entire new season around the drive-in experience.\u003c/p>\n\u003cp>“This is something we could ask people to come to and still feel like we’re keeping them safe,” says Oakland Theater Project co-artistic director William Thomas Hodgson.\u003c/p>\n\u003cp>Hodgson wants to get audiences out of their cars and into the theater again. But there are some aspects to producing shows in a pandemic that he hopes will stick around—like paying actors a fairer wage.\u003c/p>\n\u003cp>He says his company has been able to up its pay by 50% over last year. That’s possible in a season like this one, where the maximum cast size is five. But this community-oriented company is known for producing shows with much bigger forces.\u003c/p>\n\u003cp>“We’re committed to this. We’re gonna do it,” Hodgson says. “But our mainstay at Oakland Theater Project has been these large cast productions. I don’t know what that looks like in the future.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Opera San José Presents: Wagner's The Flying Dutchman\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/gylTi_haPE0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Similarly to Oakland Theater Project, \u003ca href=\"https://www.operasj.org/?gclid=Cj0KCQiA-aGCBhCwARIsAHDl5x-BWCh9gw6WSala3s5O5jzxt7xQrCNo9z5g5BKRV6pKrUrDkO-soQ0aAgqoEALw_wcB\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a> also hopes one day to return to big productions, like its staging of \u003cem>The Flying Dutchman\u003c/em> from 2018, which featured an orchestra, chorus and soloists and required several hours of the audience’s attention.\u003c/p>\n\u003cp>But the pandemic has inspired Opera San Jose to lean into producing one-act and chamber works with small casts and shorter timeframes going forward. One recent example is the company’s video-streamed take on \u003cem>Three Decembers\u003c/em>, a 90-minute-long chamber opera with a trio of performers and piano accompaniment.\u003c/p>\n\u003cp>“Shorter evenings reduce risk and help patrons feel more comfortable,” says Opera San Jose general director Khori Dastoor. “They make a lot of sense to welcome new audiences.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='\"The Making of THREE DECEMBERS\"' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uTIVoS4o7R8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dastoor is investing heavily in digital tools and training, including offering video content translated into Spanish and Vietnamese. She says her audience is expanding as a result of these efforts, with several thousand new households tuning in this past year versus around several hundred in previous years, both locally and from places as far flung as Germany and Japan.\u003c/p>\n\u003cp>She says her donor base is holding, but she recognizes some traditional opera lovers might not be on board with the digital revolution.\u003c/p>\n\u003cp>“My anxiety and concern is how long it takes for us to get to a model where the people we’ve lost because of our pivot are offset by the new people that are engaging with us for the first time,” Dastoor says.\u003c/p>\n\u003cp>The bicoastal contemporary dance company \u003ca href=\"https://rawdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">RAWdance\u003c/a> (based in San Francisco and Hudson Valley, New York) has also been able to reach new audiences with virtual content during the pandemic. In January, the group presented the video world premiere of \u003cem>The Healer,\u003c/em> a work for four dancers in flowing, pleated skirts inspired in part by the COVID-19 pandemic. The piece explores humans’ ability to overcome physical and emotional suffering through the theme of traditional Chinese medicine and holistic practices.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Trailer: \"The Healer\" (2021)' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/aAMtkWTocgk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>RAWdance co-artistic director Katerina Wong says her company has been working hard to adapt a three-dimensional art form to the two-dimensional screen.\u003c/p>\n\u003cp>“How do we still create that sense of connection and intimacy and communication, when so many of us are sitting and watching lots of Netflix or on back to back Zoom calls? It’s really hard to cut through that,” Wong says.\u003c/p>\n\u003cp>Wong says producing high quality video is expensive, especially for small dance companies like hers, but it’s something she plans to pursue even after the pandemic is over. A major financial challenge her company faces is figuring out how to expand access to the art form without sacrificing the quality of live performances when they return.\u003c/p>\n\u003cp>RAWdance relies on donations and grants for survival, including funding from the City of San Francisco. Wong and fellow co-directors Wendy Rein and Ryan T. Smith want to see more government support.\u003c/p>\n\u003cp>“What feels so essential, being located in these cities, is that it’s the signaling of the significance of artists in the community to be culture bearers and culture makers,” Wong says. “And I hope that that can be acknowledged by funding support.”\u003c/p>\n\u003cp>San Francisco Mayor London Breed just announced a proposal to provide $17 million in one-time support to local arts groups. The city’s board of supervisors is expected to discuss the proposal on Mar. 17. But one of the main sources of arts funding, the hotel tax, is down by nearly 90% since last year, and arts groups are worried about making it through.\u003c/p>\n\u003cp>“The short term prognosis is not good,” says San Francisco-based indie band manager \u003ca href=\"https://en.wikipedia.org/wiki/Jordan_Kurland\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Kurland\u003c/a>. He \u003ca href=\"https://brilliantcorners.com/\" target=\"_blank\" rel=\"noopener noreferrer\">represents\u003c/a> groups like \u003ca href=\"https://brilliantcorners.com/#/death-cab-for-cutie/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Cab for Cutie\u003c/a>, \u003ca href=\"https://brilliantcorners.com/#/the-new-pornographers/\" target=\"_blank\" rel=\"noopener noreferrer\">The New Pornographers\u003c/a> and the Bay Area’s own \u003ca href=\"https://brilliantcorners.com/#/toro-y-moi/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>Kurland also sits on the boards of several local arts nonprofits including \u003ca href=\"https://www.thelab.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Lab\u003c/a> and the \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, and says the Bay Area community isn’t just desperate for \u003cem>local\u003c/em> government support. They’re also waiting for \u003cem>federal\u003c/em> aid to materialize from the so-called \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Save our Stages Act\u003c/a>, a $15 billion aid package signed into law last December.\u003c/p>\n\u003cp>“That is going to provide some relief,” Kurland says. “But the application process has not begun.”\u003c/p>\n\u003cp>Yet the resilience and creativity he’s seeing across the Bay Area arts community gives Kurland reason for hope. For starters rents have been dropping in the Bay Area. And, he says, as the Bay Area becomes more affordable, the local arts community will bounce back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think there’s opportunity right now,” Kurland says. “I think that is a silver lining from the pandemic.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The pandemic has pushed millions of people into poverty while \u003ca href=\"https://finance.yahoo.com/news/15-billionaires-got-richer-during-180014582.html\" target=\"_blank\" rel=\"noopener noreferrer\">billionaires have only gotten richer\u003c/a>, and as a result, gig workers are organizing. That includes independent musicians, many of whom have begun to see themselves as a labor force capable of advocating for better pay.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.unionofmusicians.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Union of Musicians and Allied Workers\u003c/a> (UMAW) is an advocacy group that came together during the coronavirus pandemic. Since October, they’ve been running a Justice at Spotify campaign that asks the Swedish streaming giant to increase its pay rate to a penny per stream.\u003c/p>\n\u003cp>Over 27,500 musicians have signed UMAW’s campaign. And on March 15, they protested at 31 Spotify headquarters around the world, including San Francisco. On a sidewalk in the Financial District, about a dozen demonstrators gathered with signs, tambourines and cow bells, chanting in reference to Spotify’s CEO, “Daniel Ek, where’s my check?”\u003c/p>\n\u003cp>While a penny per play may not sound like a lot, it’s a significant step up from Spotify’s estimated rate of $0.0038 per stream. To give a clearer picture, NPR calculated that for an artist to earn the equivalent of $15 an hour at a full-time job, they would have to garner \u003ca href=\"https://www.npr.org/2020/08/19/903547253/a-tale-of-two-ecosystems-on-bandcamp-spotify-and-the-wide-open-future\" target=\"_blank\" rel=\"noopener noreferrer\">657,895 Spotify streams per month\u003c/a>—a figure that’s only attainable to those with considerable star power, and still isn’t a living wage in most major cities. (Spotify hasn’t publicly released its rates, and some artists have reported payments \u003ca href=\"https://www.bbc.com/news/entertainment-arts-54551342\" target=\"_blank\" rel=\"noopener noreferrer\">even lower\u003c/a> than the commonly held $0.0038 estimate.) [aside postid='arts_13857471']\u003c/p>\n\u003cp>Meanwhile, streaming has become a billion dollar business. Spotify boasts 345 million subscribers worldwide, by far outpacing competitors such as Apple Music and Tidal, and in the most recent quarter its \u003ca href=\"https://www.hollywoodreporter.com/news/spotify-fourth-quarter-subscribers-growth\" target=\"_blank\" rel=\"noopener noreferrer\">advertising revenue\u003c/a> was up 29% from the previous year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re the musicians, we power the platform and we should be the ones who are compensated,” said Sam Regan of the band \u003ca href=\"https://baseballgregg.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Baseball Gregg\u003c/a>, who drove to San Francisco from Stockton to attend the action.\u003c/p>\n\u003cfigure id=\"attachment_13894052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13894052 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/IMG_5503-800x533.jpg\" alt='A protester holds a sign that says \"Fuck yo greed Spotify!\" Another holds one that reads \"Justice at Spotify.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazz bassist Caroline Chung (left) and Sam Regan of indie rock band Baseball Gregg protest at Spotify headquarters in San Francisco on March 15. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a loudspeaker, Regan read aloud UMAW’s \u003ca href=\"https://www.unionofmusicians.org/justice-at-spotify-demands\" target=\"_blank\" rel=\"noopener noreferrer\">demands\u003c/a>, which include greater transparency about Spotify’s deals with record labels, and an end to what the activists call a practice of “payola” for visibility on the platform. (Recently, Spotify announced a new deal where artists could opt for greater visibility in its algorithm in exchange for lower pay.) UMAW also wants more transparency about Spotify’s payment structures, and for Spotify to drop its court \u003ca href=\"https://www.musicbusinessworldwide.com/songwriters-dealt-blow-in-spotify-royalty-rate-battle-as-streaming-platforms-claim-procedural-victory-in-us-appeals-court/#:~:text=Digital%20services%20including%20Spotify%2C%20Amazon,to%20songwriters%20in%20the%20US.\" target=\"_blank\" rel=\"noopener noreferrer\">appeal\u003c/a> to lower songwriters’ royalties, which activists say is an example of the company working against artists. Spotify did not return KQED’s request for comment.\u003c/p>\n\u003cp>“There is money in streaming, and it’s not going mostly to musicians,” said singer-songwriter \u003ca href=\"https://juliaholter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Holter\u003c/a>, an organizer of UMAW’s Los Angeles rally, in a Zoom interview last week. “Especially in the U.S., ‘Is art really work?’ is a question we have to deal with all the time. The point is, there’s someone making money.”\u003c/p>\n\u003cp>Holter pointed to a recent \u003ca href=\"https://djmag.com/news/majority-listeners-want-musicians-be-paid-more-streaming-platforms-survey-says\" target=\"_blank\" rel=\"noopener noreferrer\">U.K. survey\u003c/a> from a similar campaign called \u003ca href=\"https://musically.com/2020/05/18/brokenrecord-its-about-saying-we-all-recognise-that-this-is-problematic/\" target=\"_blank\" rel=\"noopener noreferrer\">#BrokenRecord\u003c/a> that showed that half of respondents would pay more for streaming services if they knew the money was going directly to artists. Her fellow organizer, Gracie Malley of the San Francisco protest, sees a similar trend in the United States with the popularity of \u003ca href=\"https://daily.bandcamp.com/features/update-on-bandcamp-fridays\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp Fridays\u003c/a>, where the Oakland-based music platform (which focuses on album sales, not streaming) waives its share of revenue once a month.\u003c/p>\n\u003cp>“Maybe that’s planting a seed in people’s heads—I feel good giving my money to this artist,” Malley said. “Maybe I’ll think twice about streaming them on Spotify or maybe using Spotify in general.”\u003c/p>\n\u003cfigure id=\"attachment_13894053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/IMG_5508-800x533.jpg\" alt='A woman with green hair holds a sign that says \"We stand with musicians.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Painter Sylvie McClelland attended the March 15 protest at Spotify in support of her musician friends. “In the pandemic, music has gotten me through many months of upset, and I think artists need to be paid,” she said. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The organizers of UMAW see their Justice at Spotify campaign as only the beginning. They also have subcommittees that advocate for artists in live music and record label relations, and hope to harness the power of collective bargaining in a highly individualistic field.\u003c/p>\n\u003cp>“We don’t have a complaint department, and that’s a problem. Unionization is the only way,” said New York UMAW organizer Marshall Moran, a musician, educator and engineer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Like minimum wage, fighting for a penny per stream is a drop in the bucket for what we really need,” he continued. “We’re just trying to let everybody know—there’s a lot of people out there who are scared. Everybody is really terrified right now if you’re in music. And we want them to know they have solidarity. They have a place we can come and we’re trying to fight for them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The pandemic has pushed millions of people into poverty while \u003ca href=\"https://finance.yahoo.com/news/15-billionaires-got-richer-during-180014582.html\" target=\"_blank\" rel=\"noopener noreferrer\">billionaires have only gotten richer\u003c/a>, and as a result, gig workers are organizing. That includes independent musicians, many of whom have begun to see themselves as a labor force capable of advocating for better pay.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.unionofmusicians.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Union of Musicians and Allied Workers\u003c/a> (UMAW) is an advocacy group that came together during the coronavirus pandemic. Since October, they’ve been running a Justice at Spotify campaign that asks the Swedish streaming giant to increase its pay rate to a penny per stream.\u003c/p>\n\u003cp>Over 27,500 musicians have signed UMAW’s campaign. And on March 15, they protested at 31 Spotify headquarters around the world, including San Francisco. On a sidewalk in the Financial District, about a dozen demonstrators gathered with signs, tambourines and cow bells, chanting in reference to Spotify’s CEO, “Daniel Ek, where’s my check?”\u003c/p>\n\u003cp>While a penny per play may not sound like a lot, it’s a significant step up from Spotify’s estimated rate of $0.0038 per stream. To give a clearer picture, NPR calculated that for an artist to earn the equivalent of $15 an hour at a full-time job, they would have to garner \u003ca href=\"https://www.npr.org/2020/08/19/903547253/a-tale-of-two-ecosystems-on-bandcamp-spotify-and-the-wide-open-future\" target=\"_blank\" rel=\"noopener noreferrer\">657,895 Spotify streams per month\u003c/a>—a figure that’s only attainable to those with considerable star power, and still isn’t a living wage in most major cities. (Spotify hasn’t publicly released its rates, and some artists have reported payments \u003ca href=\"https://www.bbc.com/news/entertainment-arts-54551342\" target=\"_blank\" rel=\"noopener noreferrer\">even lower\u003c/a> than the commonly held $0.0038 estimate.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, streaming has become a billion dollar business. Spotify boasts 345 million subscribers worldwide, by far outpacing competitors such as Apple Music and Tidal, and in the most recent quarter its \u003ca href=\"https://www.hollywoodreporter.com/news/spotify-fourth-quarter-subscribers-growth\" target=\"_blank\" rel=\"noopener noreferrer\">advertising revenue\u003c/a> was up 29% from the previous year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re the musicians, we power the platform and we should be the ones who are compensated,” said Sam Regan of the band \u003ca href=\"https://baseballgregg.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Baseball Gregg\u003c/a>, who drove to San Francisco from Stockton to attend the action.\u003c/p>\n\u003cfigure id=\"attachment_13894052\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13894052 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/IMG_5503-800x533.jpg\" alt='A protester holds a sign that says \"Fuck yo greed Spotify!\" Another holds one that reads \"Justice at Spotify.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5503.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazz bassist Caroline Chung (left) and Sam Regan of indie rock band Baseball Gregg protest at Spotify headquarters in San Francisco on March 15. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over a loudspeaker, Regan read aloud UMAW’s \u003ca href=\"https://www.unionofmusicians.org/justice-at-spotify-demands\" target=\"_blank\" rel=\"noopener noreferrer\">demands\u003c/a>, which include greater transparency about Spotify’s deals with record labels, and an end to what the activists call a practice of “payola” for visibility on the platform. (Recently, Spotify announced a new deal where artists could opt for greater visibility in its algorithm in exchange for lower pay.) UMAW also wants more transparency about Spotify’s payment structures, and for Spotify to drop its court \u003ca href=\"https://www.musicbusinessworldwide.com/songwriters-dealt-blow-in-spotify-royalty-rate-battle-as-streaming-platforms-claim-procedural-victory-in-us-appeals-court/#:~:text=Digital%20services%20including%20Spotify%2C%20Amazon,to%20songwriters%20in%20the%20US.\" target=\"_blank\" rel=\"noopener noreferrer\">appeal\u003c/a> to lower songwriters’ royalties, which activists say is an example of the company working against artists. Spotify did not return KQED’s request for comment.\u003c/p>\n\u003cp>“There is money in streaming, and it’s not going mostly to musicians,” said singer-songwriter \u003ca href=\"https://juliaholter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Julia Holter\u003c/a>, an organizer of UMAW’s Los Angeles rally, in a Zoom interview last week. “Especially in the U.S., ‘Is art really work?’ is a question we have to deal with all the time. The point is, there’s someone making money.”\u003c/p>\n\u003cp>Holter pointed to a recent \u003ca href=\"https://djmag.com/news/majority-listeners-want-musicians-be-paid-more-streaming-platforms-survey-says\" target=\"_blank\" rel=\"noopener noreferrer\">U.K. survey\u003c/a> from a similar campaign called \u003ca href=\"https://musically.com/2020/05/18/brokenrecord-its-about-saying-we-all-recognise-that-this-is-problematic/\" target=\"_blank\" rel=\"noopener noreferrer\">#BrokenRecord\u003c/a> that showed that half of respondents would pay more for streaming services if they knew the money was going directly to artists. Her fellow organizer, Gracie Malley of the San Francisco protest, sees a similar trend in the United States with the popularity of \u003ca href=\"https://daily.bandcamp.com/features/update-on-bandcamp-fridays\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp Fridays\u003c/a>, where the Oakland-based music platform (which focuses on album sales, not streaming) waives its share of revenue once a month.\u003c/p>\n\u003cp>“Maybe that’s planting a seed in people’s heads—I feel good giving my money to this artist,” Malley said. “Maybe I’ll think twice about streaming them on Spotify or maybe using Spotify in general.”\u003c/p>\n\u003cfigure id=\"attachment_13894053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/IMG_5508-800x533.jpg\" alt='A woman with green hair holds a sign that says \"We stand with musicians.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_5508.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Painter Sylvie McClelland attended the March 15 protest at Spotify in support of her musician friends. “In the pandemic, music has gotten me through many months of upset, and I think artists need to be paid,” she said. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The organizers of UMAW see their Justice at Spotify campaign as only the beginning. They also have subcommittees that advocate for artists in live music and record label relations, and hope to harness the power of collective bargaining in a highly individualistic field.\u003c/p>\n\u003cp>“We don’t have a complaint department, and that’s a problem. Unionization is the only way,” said New York UMAW organizer Marshall Moran, a musician, educator and engineer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Like minimum wage, fighting for a penny per stream is a drop in the bucket for what we really need,” he continued. “We’re just trying to let everybody know—there’s a lot of people out there who are scared. Everybody is really terrified right now if you’re in music. And we want them to know they have solidarity. They have a place we can come and we’re trying to fight for them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "On a Positive Note, Pandemic Piano Sales Are Booming | KQED",
"content": "\u003cp>When it comes to impulse purchases, pianos don’t usually make the cut. It’s not just the expense, which can range from several thousand dollars to the low six figures. Unlike acquiring a ukulele, harmonica or guitar, buying a piano often requires expert hauling and rearranging your furniture.\u003c/p>\n\u003cp>After months of intermittent lockdown, people have had plenty of time to consider the implications of procuring a piano, and many are fulfilling a long-held dream. In a development that may help reshape American culture for years to come, buying a piano has become a rite of pandemic passage almost on par with adopting a dog. The instruments are in such demand that showrooms are running low, and people are waiting months for delivery.\u003c/p>\n\u003cp>An unscientific survey of Bay Area piano dealers found that sales are up across the board, with surging demand for new and used instruments, both uprights and grands. In fact, 2020 was a banner year for some dealers, even after losing at least two months of business due to the initial lockdown and extremely limited showroom access ever since.\u003c/p>\n\u003cp>“Right about mid-May we made a U-turn, and since then we’ve done more business than ever in 40 years,” says Jim Callahan, proprietor of Oakland’s \u003ca href=\"https://www.piedmontpiano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont Piano Company\u003c/a>, who also transformed the store’s highly regarded concerts into a well-produced livestream series featuring top artists in jazz, soul and Brazilian music.\u003c/p>\n\u003cfigure id=\"attachment_13893276\" class=\"wp-caption aligncenter\" style=\"max-width: 571px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/omar-sosa.jpg\" alt=\"A man in a white sweater, jewelry and knit hat plays the piano. \" width=\"571\" height=\"368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/omar-sosa.jpg 571w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/omar-sosa-160x103.jpg 160w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Cuban composer Omar Sosa performs for a virtual concert shot at Piedmont Piano Company. \u003ccite>(Scott Price)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s not all good news in the piano biz. Like many showrooms, Piedmont Piano also rents out studio space for practicing—a revenue stream that disappeared with the pandemic—along with a lucrative rental service that provides instruments for concerts, weddings and corporate events. But with the spring pirouette to online sales followed by appointment-only visits for one customer at a time, Callahan has found that the pandemic has unleashed pent-up demand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There are all these people who have buying or learning piano somewhere on their agenda, and all of the sudden they have the time,” Callahan says. “People are stuck at home. We sold three pianos on Saturday. We’re lucky and feel very fortunate.”\u003c/p>\n\u003cp>Benjamin Nieves, showroom manager of \u003ca href=\"https://www.steinway.com/locations/san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Steinway & Sons San Francisco\u003c/a>, has seen a similar surge in sales. He credits the Steinway brand’s iconic status with easing customer anxiety when it comes to purchasing a piano sight unseen after the showroom closed down in March. The store is now open via appointment, but many people prefer to schedule virtual meetings via Zoom. Sales have been so robust that the San Francisco branch sold off the entire inventory that was set aside for its now-decimated rental business. [aside postid='arts_13893043']\u003c/p>\n\u003cp>“It got to a point where rentals filled in the gap when we’d gone through our regular inventory,” Nieves says. “We’re selling a lot of pianos. I see a lot of people going back to basics. I learned to make homemade bread. I’m not saying COVID was great, but it allowed us to concentrate on things at home. Pianos bring families together, and that’s really positive.”\u003c/p>\n\u003cp>The implications of thousands of newly piano-ed households offer a promising post-pandemic note. Judging by the stories of professional musicians who found their first inspiration sounding out tunes on a piano at home, the sales boom could help spark a new generation of artists. And even amid the flood of electronic entertainment, there’s nothing like a piano’s hands-on appeal.\u003c/p>\n\u003cfigure id=\"attachment_13893278\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893278\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/linton-family.jpg\" alt=\"A family of two parents and two adult children pose around their grand piano in a cozy living room.\" width=\"800\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family-768x655.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Since getting their new piano, Clifton Linton, Jenny Linton, David Peña and Christina Peña (front to back) have a new ritual of playing music together after family dinner. \u003ccite>(Clifton Linton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Linton household in Alameda, a vintage Steinway recently purchased from Piedmont Piano Company has become the center of family life. With two adult children back at home, Jenny Linton and her husband Clif, a violinist, have found that trading in an old upright for a fabulous grand piano “changed the interest level for everyone in the house,” she says, noting the family’s new after-dinner ritual.\u003c/p>\n\u003cp>“I sit down to play and my son will yell ‘Music time!’ and our German shepherd will come flying into the living room from wherever she’s been and plop on a couch so she can listen,” Linton continues. “My son and daughter follow her into the room and I have an instant audience. We do a lot of ‘Name that Tune,’ lots of Tin Pan Alley and show tunes. Sometimes I play alone, and this morning I was playing when I realized my son was in the other room singing ‘Feed The Birds’ along with the music in his best Ethel Merman voice.”\u003c/p>\n\u003cp>Demand for pianos has been so strong that orders can take months longer than normal to fulfill. \u003ca href=\"https://www.coltonpiano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Colton Piano Gallery\u003c/a> in San Jose closed for three months during the first phase of the lockdown. Reopening on June 6 with the requisite COVID protocols, the store surpassed 2019 numbers before the end of November. This year, “the biggest challenge is trying to get pianos,” said David Gatt, the store’s owner. “The problem is the factories overseas are running at one-third capacity because of COVID curfews.” [aside postid='arts_13892137']\u003c/p>\n\u003cp>With hundreds of dockworkers out sick from COVID at the ports of Los Angeles and Long Beach, dozens of container ships are backed up waiting to unload their cargo, according to the \u003ca href=\"https://www.wsj.com/articles/port-delays-leave-cargo-ships-stranded-off-u-s-pacific-gateways-11610574485\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wall Street Journal\u003c/em>\u003c/a>. As certain as death and taxes, rising demand and limited supply means that piano prices will be rising. Gatt’s advice? Following that pianistic impulse today will save you money tomorrow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If it’s available and you want it, don’t hesitate,” he said “There’s already a 10% price increase from a German supplier. My digital pianos have been sold out since November. I’ve got 45 on back order.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to impulse purchases, pianos don’t usually make the cut. It’s not just the expense, which can range from several thousand dollars to the low six figures. Unlike acquiring a ukulele, harmonica or guitar, buying a piano often requires expert hauling and rearranging your furniture.\u003c/p>\n\u003cp>After months of intermittent lockdown, people have had plenty of time to consider the implications of procuring a piano, and many are fulfilling a long-held dream. In a development that may help reshape American culture for years to come, buying a piano has become a rite of pandemic passage almost on par with adopting a dog. The instruments are in such demand that showrooms are running low, and people are waiting months for delivery.\u003c/p>\n\u003cp>An unscientific survey of Bay Area piano dealers found that sales are up across the board, with surging demand for new and used instruments, both uprights and grands. In fact, 2020 was a banner year for some dealers, even after losing at least two months of business due to the initial lockdown and extremely limited showroom access ever since.\u003c/p>\n\u003cp>“Right about mid-May we made a U-turn, and since then we’ve done more business than ever in 40 years,” says Jim Callahan, proprietor of Oakland’s \u003ca href=\"https://www.piedmontpiano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont Piano Company\u003c/a>, who also transformed the store’s highly regarded concerts into a well-produced livestream series featuring top artists in jazz, soul and Brazilian music.\u003c/p>\n\u003cfigure id=\"attachment_13893276\" class=\"wp-caption aligncenter\" style=\"max-width: 571px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/omar-sosa.jpg\" alt=\"A man in a white sweater, jewelry and knit hat plays the piano. \" width=\"571\" height=\"368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/omar-sosa.jpg 571w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/omar-sosa-160x103.jpg 160w\" sizes=\"(max-width: 571px) 100vw, 571px\">\u003cfigcaption class=\"wp-caption-text\">Cuban composer Omar Sosa performs for a virtual concert shot at Piedmont Piano Company. \u003ccite>(Scott Price)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s not all good news in the piano biz. Like many showrooms, Piedmont Piano also rents out studio space for practicing—a revenue stream that disappeared with the pandemic—along with a lucrative rental service that provides instruments for concerts, weddings and corporate events. But with the spring pirouette to online sales followed by appointment-only visits for one customer at a time, Callahan has found that the pandemic has unleashed pent-up demand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are all these people who have buying or learning piano somewhere on their agenda, and all of the sudden they have the time,” Callahan says. “People are stuck at home. We sold three pianos on Saturday. We’re lucky and feel very fortunate.”\u003c/p>\n\u003cp>Benjamin Nieves, showroom manager of \u003ca href=\"https://www.steinway.com/locations/san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Steinway & Sons San Francisco\u003c/a>, has seen a similar surge in sales. He credits the Steinway brand’s iconic status with easing customer anxiety when it comes to purchasing a piano sight unseen after the showroom closed down in March. The store is now open via appointment, but many people prefer to schedule virtual meetings via Zoom. Sales have been so robust that the San Francisco branch sold off the entire inventory that was set aside for its now-decimated rental business. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It got to a point where rentals filled in the gap when we’d gone through our regular inventory,” Nieves says. “We’re selling a lot of pianos. I see a lot of people going back to basics. I learned to make homemade bread. I’m not saying COVID was great, but it allowed us to concentrate on things at home. Pianos bring families together, and that’s really positive.”\u003c/p>\n\u003cp>The implications of thousands of newly piano-ed households offer a promising post-pandemic note. Judging by the stories of professional musicians who found their first inspiration sounding out tunes on a piano at home, the sales boom could help spark a new generation of artists. And even amid the flood of electronic entertainment, there’s nothing like a piano’s hands-on appeal.\u003c/p>\n\u003cfigure id=\"attachment_13893278\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13893278\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/linton-family.jpg\" alt=\"A family of two parents and two adult children pose around their grand piano in a cozy living room.\" width=\"800\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/linton-family-768x655.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Since getting their new piano, Clifton Linton, Jenny Linton, David Peña and Christina Peña (front to back) have a new ritual of playing music together after family dinner. \u003ccite>(Clifton Linton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Linton household in Alameda, a vintage Steinway recently purchased from Piedmont Piano Company has become the center of family life. With two adult children back at home, Jenny Linton and her husband Clif, a violinist, have found that trading in an old upright for a fabulous grand piano “changed the interest level for everyone in the house,” she says, noting the family’s new after-dinner ritual.\u003c/p>\n\u003cp>“I sit down to play and my son will yell ‘Music time!’ and our German shepherd will come flying into the living room from wherever she’s been and plop on a couch so she can listen,” Linton continues. “My son and daughter follow her into the room and I have an instant audience. We do a lot of ‘Name that Tune,’ lots of Tin Pan Alley and show tunes. Sometimes I play alone, and this morning I was playing when I realized my son was in the other room singing ‘Feed The Birds’ along with the music in his best Ethel Merman voice.”\u003c/p>\n\u003cp>Demand for pianos has been so strong that orders can take months longer than normal to fulfill. \u003ca href=\"https://www.coltonpiano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Colton Piano Gallery\u003c/a> in San Jose closed for three months during the first phase of the lockdown. Reopening on June 6 with the requisite COVID protocols, the store surpassed 2019 numbers before the end of November. This year, “the biggest challenge is trying to get pianos,” said David Gatt, the store’s owner. “The problem is the factories overseas are running at one-third capacity because of COVID curfews.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With hundreds of dockworkers out sick from COVID at the ports of Los Angeles and Long Beach, dozens of container ships are backed up waiting to unload their cargo, according to the \u003ca href=\"https://www.wsj.com/articles/port-delays-leave-cargo-ships-stranded-off-u-s-pacific-gateways-11610574485\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wall Street Journal\u003c/em>\u003c/a>. As certain as death and taxes, rising demand and limited supply means that piano prices will be rising. Gatt’s advice? Following that pianistic impulse today will save you money tomorrow.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If it’s available and you want it, don’t hesitate,” he said “There’s already a 10% price increase from a German supplier. My digital pianos have been sold out since November. I’ve got 45 on back order.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After Five Decades of Shows, Eli’s Mile High Club Keeps the Party Going on Patreon",
"headTitle": "After Five Decades of Shows, Eli’s Mile High Club Keeps the Party Going on Patreon | KQED",
"content": "\u003cp>\u003ca href=\"http://elismilehigh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eli’s Mile High Club\u003c/a> is usually dim except for the glow of a red neon sign that spells its name in cursive. Graffiti is the main decor, along with old posters from its heyday as a blues club in the ’70s and ’80s. Now a hub for Oakland’s many musical subcultures, the bar still vibrates with the spirit of countless wild nights of dancing and cheap drinks, even as it sits mostly empty during the pandemic.\u003c/p>\n\u003cp>“Any venue that holds music for a certain period of time is going to retain a certain vibe as a characteristic that lives in the atmosphere,” says blues singer and bassist Greg “GMan” Simmons, who was a regular performer at Eli’s from the ’70s to the days before the COVID-19 crisis began. “Let’s call it a humble place—that’s a nice way of saying ‘dive.’ But a place to go is a place to go; it’s not judged on the outer accoutrements. It’s the vibe, it’s the energy. These are halls that have been rockin’ and rollin’ for a long time.” [aside postid='arts_13809453']\u003c/p>\n\u003cp>Last month, Simmons and guitarist Bobby Young became the first artists to record a live performance at Eli’s for the bar’s new \u003ca href=\"https://www.patreon.com/elismilehighclub/posts\" target=\"_blank\" rel=\"noopener noreferrer\">Patreon\u003c/a>. Co-owner Matt Patane spearheaded the effort with his new media company, Sky Coward Media Inc., which supplies professional sound and filming equipment and coordinates artists’ pay through a \u003ca href=\"https://www.fluxfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flux Foundation\u003c/a> grant. Simmons and Young were crucial in shaping the Down By Blues virtual concerts that Eli’s now releases on Patreon every Monday. And on Saturdays, another video series called Red Room features sets and interviews with artists like emo rapper \u003ca href=\"https://rickylake.bandcamp.com/album/saving-ricky\" target=\"_blank\" rel=\"noopener noreferrer\">Ricky Lake\u003c/a>, jazz-hip-hop artist \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a> and hard rock band \u003ca href=\"https://psychichit.bandcamp.com/album/promo-2018\" target=\"_blank\" rel=\"noopener noreferrer\">Psychic Hit\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/1OIbxXvEWBQ\u003c/p>\n\u003cp>The effort is the club’s way of continuing to support its eclectic artist community, both financially and in terms of morale. “Any time you’ve got a venue that’s going out of their way to see that the musicians are working and being able to do what we love to do—that says something right there,” says Young. “I’d say in the entire Bay Area, you can count the venues that are like that on half a hand. It’s really rare, but it makes you feel worthy as a musician.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/PwCQ-IVAcYY\u003c/p>\n\u003cp>On a recent Friday afternoon in Eli’s back patio, Young, Simmons and Patane sit around a picnic table swapping tales from Eli’s storied past. It was always a haunt for local musicians, but big names like Etta James and James Brown performed there too. And it was the Rolling Stones’ preferred post-concert hangout when they were on tour. Legend has it that the Stones were once turned away at the door. (There weren’t very many white customers at the time, and the bouncer didn’t believe them when they told him who they were.)\u003c/p>\n\u003cp>“In those days, there was as much of a show in the house as it was on the stage,” says Simmons.\u003c/p>\n\u003cp>Darker stories came out of Eli’s too, but they only seem to contribute to the bar’s lore. One Thursday evening in 1979, for instance, owner Eli Thornton’s aggrieved girlfriend, blues singer \u003ca href=\"https://www.mercurynews.com/2011/02/16/frankie-williams-adjusts-to-life-after-nearly-30-years-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">Frankie Williams\u003c/a>, came in and shot him. (In her trial, her defense presented evidence that Thornton had been abusive.)\u003c/p>\n\u003cp>After Thornton’s death, blues singer \u003ca href=\"https://www.allmusic.com/artist/troyce-key-mn0000021931\" target=\"_blank\" rel=\"noopener noreferrer\">Troyce Key\u003c/a> ran Eli’s Mile High Club in the ’80s. It changed hands again several times afterwards, but always kept its shabby charm. It was known as a punk and metal bar before Patane took it over in 2016 with business partners Billy Joe Agan and Erik Schmollinger. They brought back the blues—and many of the original performers—and started up weekly punk and rap concerts, DJ nights and drag shows. The crowd they attracted was diverse in terms of age and ethnicity, and everyone was welcome. Even Williams, of all people, came back to watch a blues show after serving her time.\u003c/p>\n\u003cp>“It was kind of awesome for us because we’re sittin’ there going, ‘Wow, this is cool. This piece of history just walked in the door,’” says Patane. “And it gave us this incredible reputation, like, ‘You could pretty much get away with a lot at Eli’s, including shooting the owner and getting let back in here.’”\u003c/p>\n\u003cfigure id=\"attachment_13892904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892904\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/IMGP8024-800x590.jpg\" alt=\"A blues bassist and guitarist in masks perform on a nightclub stage.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-1536x1133.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Young (left) and Greg “GMan” Simmons have been Eli’s regulars since the ’70s, and they played a key role in creating its new Down By Blues program on Patreon. \u003ccite>(David Hiltbrand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the pandemic started, the owners of Eli’s have watched other Oakland venues \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">close down permanently\u003c/a>, so they count themselves relatively lucky. When the first shelter-in-place orders came down last March, they had enough savings to cover six to eight months of basic expenses. Help came from the Paycheck Protection Program, which allowed them to keep on about half of their staff and reopen for outdoor dining during the summer. (They plan to start backyard food service again when weather improves.) A substantial grant from \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>, in the upper five figures, also went a long way towards keeping bills paid. And federal grant funding from the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> will soon provide some relief as well. [aside postid='arts_13890093,arts_13890679']\u003c/p>\n\u003cp>In a phone interview, Agan, who runs the business operations side of things, assures me that Eli’s isn’t in danger of closing, and explains that he and his team want to do what they can with their resources to support the local music scene. “I can open up and just sell booze at the door,” he says. “But it’s hard for [musicians] to do anything, and to make a living off what they do.”\u003c/p>\n\u003cp>So far, the Eli’s Patreon channel has 63 subscribers who pay a collective $500 or so a month. Artists get 60% of the proceeds in addition to the Flux Foundation money they receive as compensation. It may not be a huge payday, but the hope is to keep momentum going until people can come to Eli’s to see live music again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Us being open and doing things for people online, it’s kind of us showing people we really do this shit for them,” says Agan. “We get messages every day saying, ‘Please don’t close, we love you.’ That’s not something we ever got when we were open. It really shows, like, damn, our space meant a lot to people.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://elismilehigh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eli’s Mile High Club\u003c/a> is usually dim except for the glow of a red neon sign that spells its name in cursive. Graffiti is the main decor, along with old posters from its heyday as a blues club in the ’70s and ’80s. Now a hub for Oakland’s many musical subcultures, the bar still vibrates with the spirit of countless wild nights of dancing and cheap drinks, even as it sits mostly empty during the pandemic.\u003c/p>\n\u003cp>“Any venue that holds music for a certain period of time is going to retain a certain vibe as a characteristic that lives in the atmosphere,” says blues singer and bassist Greg “GMan” Simmons, who was a regular performer at Eli’s from the ’70s to the days before the COVID-19 crisis began. “Let’s call it a humble place—that’s a nice way of saying ‘dive.’ But a place to go is a place to go; it’s not judged on the outer accoutrements. It’s the vibe, it’s the energy. These are halls that have been rockin’ and rollin’ for a long time.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month, Simmons and guitarist Bobby Young became the first artists to record a live performance at Eli’s for the bar’s new \u003ca href=\"https://www.patreon.com/elismilehighclub/posts\" target=\"_blank\" rel=\"noopener noreferrer\">Patreon\u003c/a>. Co-owner Matt Patane spearheaded the effort with his new media company, Sky Coward Media Inc., which supplies professional sound and filming equipment and coordinates artists’ pay through a \u003ca href=\"https://www.fluxfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flux Foundation\u003c/a> grant. Simmons and Young were crucial in shaping the Down By Blues virtual concerts that Eli’s now releases on Patreon every Monday. And on Saturdays, another video series called Red Room features sets and interviews with artists like emo rapper \u003ca href=\"https://rickylake.bandcamp.com/album/saving-ricky\" target=\"_blank\" rel=\"noopener noreferrer\">Ricky Lake\u003c/a>, jazz-hip-hop artist \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a> and hard rock band \u003ca href=\"https://psychichit.bandcamp.com/album/promo-2018\" target=\"_blank\" rel=\"noopener noreferrer\">Psychic Hit\u003c/a>.\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/1OIbxXvEWBQ'\n title='//www.youtube.com/embed/1OIbxXvEWBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The effort is the club’s way of continuing to support its eclectic artist community, both financially and in terms of morale. “Any time you’ve got a venue that’s going out of their way to see that the musicians are working and being able to do what we love to do—that says something right there,” says Young. “I’d say in the entire Bay Area, you can count the venues that are like that on half a hand. It’s really rare, but it makes you feel worthy as a musician.”\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/PwCQ-IVAcYY'\n title='//www.youtube.com/embed/PwCQ-IVAcYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On a recent Friday afternoon in Eli’s back patio, Young, Simmons and Patane sit around a picnic table swapping tales from Eli’s storied past. It was always a haunt for local musicians, but big names like Etta James and James Brown performed there too. And it was the Rolling Stones’ preferred post-concert hangout when they were on tour. Legend has it that the Stones were once turned away at the door. (There weren’t very many white customers at the time, and the bouncer didn’t believe them when they told him who they were.)\u003c/p>\n\u003cp>“In those days, there was as much of a show in the house as it was on the stage,” says Simmons.\u003c/p>\n\u003cp>Darker stories came out of Eli’s too, but they only seem to contribute to the bar’s lore. One Thursday evening in 1979, for instance, owner Eli Thornton’s aggrieved girlfriend, blues singer \u003ca href=\"https://www.mercurynews.com/2011/02/16/frankie-williams-adjusts-to-life-after-nearly-30-years-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">Frankie Williams\u003c/a>, came in and shot him. (In her trial, her defense presented evidence that Thornton had been abusive.)\u003c/p>\n\u003cp>After Thornton’s death, blues singer \u003ca href=\"https://www.allmusic.com/artist/troyce-key-mn0000021931\" target=\"_blank\" rel=\"noopener noreferrer\">Troyce Key\u003c/a> ran Eli’s Mile High Club in the ’80s. It changed hands again several times afterwards, but always kept its shabby charm. It was known as a punk and metal bar before Patane took it over in 2016 with business partners Billy Joe Agan and Erik Schmollinger. They brought back the blues—and many of the original performers—and started up weekly punk and rap concerts, DJ nights and drag shows. The crowd they attracted was diverse in terms of age and ethnicity, and everyone was welcome. Even Williams, of all people, came back to watch a blues show after serving her time.\u003c/p>\n\u003cp>“It was kind of awesome for us because we’re sittin’ there going, ‘Wow, this is cool. This piece of history just walked in the door,’” says Patane. “And it gave us this incredible reputation, like, ‘You could pretty much get away with a lot at Eli’s, including shooting the owner and getting let back in here.’”\u003c/p>\n\u003cfigure id=\"attachment_13892904\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892904\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/IMGP8024-800x590.jpg\" alt=\"A blues bassist and guitarist in masks perform on a nightclub stage.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024-1536x1133.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/IMGP8024.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Young (left) and Greg “GMan” Simmons have been Eli’s regulars since the ’70s, and they played a key role in creating its new Down By Blues program on Patreon. \u003ccite>(David Hiltbrand)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the pandemic started, the owners of Eli’s have watched other Oakland venues \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">close down permanently\u003c/a>, so they count themselves relatively lucky. When the first shelter-in-place orders came down last March, they had enough savings to cover six to eight months of basic expenses. Help came from the Paycheck Protection Program, which allowed them to keep on about half of their staff and reopen for outdoor dining during the summer. (They plan to start backyard food service again when weather improves.) A substantial grant from \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>, in the upper five figures, also went a long way towards keeping bills paid. And federal grant funding from the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> will soon provide some relief as well. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a phone interview, Agan, who runs the business operations side of things, assures me that Eli’s isn’t in danger of closing, and explains that he and his team want to do what they can with their resources to support the local music scene. “I can open up and just sell booze at the door,” he says. “But it’s hard for [musicians] to do anything, and to make a living off what they do.”\u003c/p>\n\u003cp>So far, the Eli’s Patreon channel has 63 subscribers who pay a collective $500 or so a month. Artists get 60% of the proceeds in addition to the Flux Foundation money they receive as compensation. It may not be a huge payday, but the hope is to keep momentum going until people can come to Eli’s to see live music again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Us being open and doing things for people online, it’s kind of us showing people we really do this shit for them,” says Agan. “We get messages every day saying, ‘Please don’t close, we love you.’ That’s not something we ever got when we were open. It really shows, like, damn, our space meant a lot to people.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why We've Turned to Nostradamus and Divination in the Age of Coronavirus",
"headTitle": "Why We’ve Turned to Nostradamus and Divination in the Age of Coronavirus | KQED",
"content": "\u003cp>Last year, less than a month into shelter in place, I decided to read the prophecies of Nostradamus. Within hours, I had found a passage that looked an awful lot like a COVID-19 prediction.\u003c/p>\n\u003cblockquote>\u003cp>In the feeble lists, great calamity through America and Lombardy. The fire in the ship, plague and captivity; Mercury in Sagittarius, Saturn warning.\u003c/p>\u003c/blockquote>\n\u003cp>I thought a few other people might be interested to see it, so I wrote a \u003ca href=\"https://www.kqed.org/arts/13878154/perhaps-nostradamus-predicted-coronavirus-after-all\" target=\"_blank\" rel=\"noopener noreferrer\">quick story\u003c/a> about it for KQED Arts & Culture. [aside postid='arts_13878154']\u003c/p>\n\u003cp>Nine months later, that quick story is now the most-read thing I’ve ever written in my entire life. As one of the \u003ca href=\"https://www.kqed.org/news/11851592/most-read-your-top-stories-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">most popular stories\u003c/a> across all of KQED last year, it’s rapidly approaching a million views. And as the story continues to be read by thousands of new readers week over week, it’s impossible not to wonder why so many people still care so much about cryptic verses written by a weird dude from the 16th Century.\u003c/p>\n\u003cp>The truth is, it’s not just Nostradamus we’re obsessing over right now. Since COVID started, revisiting prophetic texts has become an increasingly common pastime. In India, people are re-reading the writings of\u003ca href=\"https://en.wikipedia.org/wiki/Potuluri_Veerabrahmam\" target=\"_blank\" rel=\"noopener noreferrer\"> Potuluri Veerabrahmam\u003c/a>, a Hindu saint and seer from the 17th century. Closer to home, Sylvia Browne’s 2008 book \u003ca href=\"https://www.penguinrandomhouse.com/books/302984/end-of-days-by-sylvia-browne/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>End of Days: Predictions and Prophecies About the End of the World\u003c/em>\u003c/a> saw a sudden boom in sales last year thanks to a coronavirus prediction within the text. (“In around 2020,” \u003ca href=\"https://twitter.com/KimKardashian/status/1237924116486688768\" target=\"_blank\" rel=\"noopener noreferrer\">Browne wrote\u003c/a>, “a severe pneumonia-like illness will spread throughout the globe, attacking the lungs and the bronchial tubes and resisting all known treatments.”)\u003c/p>\n\u003cp>When it comes to spiritual matters, even before coronavirus, America was open-minded as hell. A \u003ca href=\"https://www.pewresearch.org/fact-tank/2018/10/01/new-age-beliefs-common-among-both-religious-and-nonreligious-americans/\" target=\"_blank\" rel=\"noopener noreferrer\">2018 Pew Study\u003c/a> found that 98 million of us believe in astrology, and a whopping 134 million believe in psychics. In 2019, psychic services—everything from palm, aura and tarot reading, to numerology and animal psychics—was a \u003ca href=\"https://www.ibisworld.com/united-states/market-research-reports/psychic-services-industry/\" target=\"_blank\" rel=\"noopener noreferrer\">$2 billion\u003c/a> industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was all pre-pandemic. And belief in spiritual matters tends to increase during times of crisis. It’s why agnostics pray their way through airplane turbulence, it’s why so many grieving people visit mediums, and it’s why those dealing with hardship are often the ones with the strongest faith.\u003c/p>\n\u003cp>History is awash with leaps of faith in the midst of dark times. In the 15th Century, because the military believed she was a messenger of God, a teenaged \u003ca href=\"https://en.wikipedia.org/wiki/Joan_of_Arc#Military_campaigns\" target=\"_blank\" rel=\"noopener noreferrer\">Joan of Arc\u003c/a> was permitted to lead the French army into battle after a series of crushing defeats. In the early 1900s, \u003ca href=\"https://en.wikipedia.org/wiki/Grigori_Rasputin\" target=\"_blank\" rel=\"noopener noreferrer\">Grigori Rasputin\u003c/a> held notorious influence over the Russian royal family because the tsar and his wife believed he could heal their son of hemophilia. Even in the 1970s, salt-of-the-Earth detectives \u003ca href=\"https://www.journal-topics.com/articles/wife-of-former-dp-police-chief-finishes-gacy-book/\" target=\"_blank\" rel=\"noopener noreferrer\">consulted with psychics\u003c/a> during their hunt for serial killers like John Wayne Gacy.\u003c/p>\n\u003cp>The upheaval caused by COVID-19 has impacted every facet of American life. So it’s not surprising that, as we wrestle with the whys of it all, some of us are more inclined than usual to seek comfort, answers and a greater sense of preparedness from the realms of the spiritual and supernatural. After all, according to neuroscientists, “the human brain is built in such a way as to \u003ca href=\"https://www.bbc.com/future/article/20190529-do-humans-have-a-religion-instinct\" target=\"_blank\" rel=\"noopener noreferrer\">facilitate spiritual\u003c/a> kinds of experiences.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.tanyablessings.com/about-the-author/\" target=\"_blank\" rel=\"noopener noreferrer\">Tanya Carroll Richardson\u003c/a>, an author and professional intuitive who offered readings over the phone even before the pandemic, says she was fully booked in 2020.\u003c/p>\n\u003cp>“Most people come to me when they are struggling in some way,” Richardson says. “Seeing a challenge from a deeper, broader spiritual perspective doesn’t take the pain or frustration away, but it can add new meaning, comfort, and insight. It can help us pivot in positive ways. I did notice an increase in interest in spirituality in 2020, and it was nourishing and healing for me to help support people during a difficult year.” [aside postid='pop_103358']\u003c/p>\n\u003cp>Richardson isn’t alone in finding her own comfort through her spiritual work with clients. In the midst of massive job losses and economic uncertainty, many who previously enjoyed tarot and astrology as a pastime have turned to either monetizing their skills for the first time, or transforming their part-time interest into a full-time job.\u003c/p>\n\u003cp>When the pandemic hit, \u003ca href=\"https://www.jasminewolfe.xyz/\" target=\"_blank\" rel=\"noopener noreferrer\">Jasmine Wolfe\u003c/a> was already working part-time in numerology, astrology and tarot, but her job security came from a part-time position in childcare. In March 2020, when attendance suddenly dwindled, Wolfe decided to give up her day job. She says taking the plunge has paid off.\u003c/p>\n\u003cp>“I have absolutely seen an increase in business since lockdown last year,” the Sacramento resident explains. “It’s not surprising that so many people are called to divinatory practices at this time when things are so uncertain. Wanting to know what the future holds is something that has preoccupied humans for millennia.”\u003c/p>\n\u003cp>In addition to providing one-on-one readings, Wolfe now also offers courses, mentorships and coaching in numerology, astrology, tarot and witchcraft. “Tarot [provides] clarity and guidance,” she explains, “but I think astrology is the better tool for divination. It dates back to the oldest civilizations in Egypt, Babylonia, China. I think a lot of people have been drawn to following it this past year.”\u003c/p>\n\u003cp>During times of crisis, one of the most comforting things about prophecies and predictions is the sense they give us that nothing is accidental. That even the most traumatic, chaotic events are, in fact, all part of a larger plan. If some weird guy with a beard saw coronavirus coming 466 years ago, we tell ourselves, not only was it unavoidable, but it must be \u003cem>happening for a reason\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And if that notion gets you through this tough period, then it’s a notion that’s cruel to argue with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, less than a month into shelter in place, I decided to read the prophecies of Nostradamus. Within hours, I had found a passage that looked an awful lot like a COVID-19 prediction.\u003c/p>\n\u003cblockquote>\u003cp>In the feeble lists, great calamity through America and Lombardy. The fire in the ship, plague and captivity; Mercury in Sagittarius, Saturn warning.\u003c/p>\u003c/blockquote>\n\u003cp>I thought a few other people might be interested to see it, so I wrote a \u003ca href=\"https://www.kqed.org/arts/13878154/perhaps-nostradamus-predicted-coronavirus-after-all\" target=\"_blank\" rel=\"noopener noreferrer\">quick story\u003c/a> about it for KQED Arts & Culture. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nine months later, that quick story is now the most-read thing I’ve ever written in my entire life. As one of the \u003ca href=\"https://www.kqed.org/news/11851592/most-read-your-top-stories-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">most popular stories\u003c/a> across all of KQED last year, it’s rapidly approaching a million views. And as the story continues to be read by thousands of new readers week over week, it’s impossible not to wonder why so many people still care so much about cryptic verses written by a weird dude from the 16th Century.\u003c/p>\n\u003cp>The truth is, it’s not just Nostradamus we’re obsessing over right now. Since COVID started, revisiting prophetic texts has become an increasingly common pastime. In India, people are re-reading the writings of\u003ca href=\"https://en.wikipedia.org/wiki/Potuluri_Veerabrahmam\" target=\"_blank\" rel=\"noopener noreferrer\"> Potuluri Veerabrahmam\u003c/a>, a Hindu saint and seer from the 17th century. Closer to home, Sylvia Browne’s 2008 book \u003ca href=\"https://www.penguinrandomhouse.com/books/302984/end-of-days-by-sylvia-browne/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>End of Days: Predictions and Prophecies About the End of the World\u003c/em>\u003c/a> saw a sudden boom in sales last year thanks to a coronavirus prediction within the text. (“In around 2020,” \u003ca href=\"https://twitter.com/KimKardashian/status/1237924116486688768\" target=\"_blank\" rel=\"noopener noreferrer\">Browne wrote\u003c/a>, “a severe pneumonia-like illness will spread throughout the globe, attacking the lungs and the bronchial tubes and resisting all known treatments.”)\u003c/p>\n\u003cp>When it comes to spiritual matters, even before coronavirus, America was open-minded as hell. A \u003ca href=\"https://www.pewresearch.org/fact-tank/2018/10/01/new-age-beliefs-common-among-both-religious-and-nonreligious-americans/\" target=\"_blank\" rel=\"noopener noreferrer\">2018 Pew Study\u003c/a> found that 98 million of us believe in astrology, and a whopping 134 million believe in psychics. In 2019, psychic services—everything from palm, aura and tarot reading, to numerology and animal psychics—was a \u003ca href=\"https://www.ibisworld.com/united-states/market-research-reports/psychic-services-industry/\" target=\"_blank\" rel=\"noopener noreferrer\">$2 billion\u003c/a> industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was all pre-pandemic. And belief in spiritual matters tends to increase during times of crisis. It’s why agnostics pray their way through airplane turbulence, it’s why so many grieving people visit mediums, and it’s why those dealing with hardship are often the ones with the strongest faith.\u003c/p>\n\u003cp>History is awash with leaps of faith in the midst of dark times. In the 15th Century, because the military believed she was a messenger of God, a teenaged \u003ca href=\"https://en.wikipedia.org/wiki/Joan_of_Arc#Military_campaigns\" target=\"_blank\" rel=\"noopener noreferrer\">Joan of Arc\u003c/a> was permitted to lead the French army into battle after a series of crushing defeats. In the early 1900s, \u003ca href=\"https://en.wikipedia.org/wiki/Grigori_Rasputin\" target=\"_blank\" rel=\"noopener noreferrer\">Grigori Rasputin\u003c/a> held notorious influence over the Russian royal family because the tsar and his wife believed he could heal their son of hemophilia. Even in the 1970s, salt-of-the-Earth detectives \u003ca href=\"https://www.journal-topics.com/articles/wife-of-former-dp-police-chief-finishes-gacy-book/\" target=\"_blank\" rel=\"noopener noreferrer\">consulted with psychics\u003c/a> during their hunt for serial killers like John Wayne Gacy.\u003c/p>\n\u003cp>The upheaval caused by COVID-19 has impacted every facet of American life. So it’s not surprising that, as we wrestle with the whys of it all, some of us are more inclined than usual to seek comfort, answers and a greater sense of preparedness from the realms of the spiritual and supernatural. After all, according to neuroscientists, “the human brain is built in such a way as to \u003ca href=\"https://www.bbc.com/future/article/20190529-do-humans-have-a-religion-instinct\" target=\"_blank\" rel=\"noopener noreferrer\">facilitate spiritual\u003c/a> kinds of experiences.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.tanyablessings.com/about-the-author/\" target=\"_blank\" rel=\"noopener noreferrer\">Tanya Carroll Richardson\u003c/a>, an author and professional intuitive who offered readings over the phone even before the pandemic, says she was fully booked in 2020.\u003c/p>\n\u003cp>“Most people come to me when they are struggling in some way,” Richardson says. “Seeing a challenge from a deeper, broader spiritual perspective doesn’t take the pain or frustration away, but it can add new meaning, comfort, and insight. It can help us pivot in positive ways. I did notice an increase in interest in spirituality in 2020, and it was nourishing and healing for me to help support people during a difficult year.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richardson isn’t alone in finding her own comfort through her spiritual work with clients. In the midst of massive job losses and economic uncertainty, many who previously enjoyed tarot and astrology as a pastime have turned to either monetizing their skills for the first time, or transforming their part-time interest into a full-time job.\u003c/p>\n\u003cp>When the pandemic hit, \u003ca href=\"https://www.jasminewolfe.xyz/\" target=\"_blank\" rel=\"noopener noreferrer\">Jasmine Wolfe\u003c/a> was already working part-time in numerology, astrology and tarot, but her job security came from a part-time position in childcare. In March 2020, when attendance suddenly dwindled, Wolfe decided to give up her day job. She says taking the plunge has paid off.\u003c/p>\n\u003cp>“I have absolutely seen an increase in business since lockdown last year,” the Sacramento resident explains. “It’s not surprising that so many people are called to divinatory practices at this time when things are so uncertain. Wanting to know what the future holds is something that has preoccupied humans for millennia.”\u003c/p>\n\u003cp>In addition to providing one-on-one readings, Wolfe now also offers courses, mentorships and coaching in numerology, astrology, tarot and witchcraft. “Tarot [provides] clarity and guidance,” she explains, “but I think astrology is the better tool for divination. It dates back to the oldest civilizations in Egypt, Babylonia, China. I think a lot of people have been drawn to following it this past year.”\u003c/p>\n\u003cp>During times of crisis, one of the most comforting things about prophecies and predictions is the sense they give us that nothing is accidental. That even the most traumatic, chaotic events are, in fact, all part of a larger plan. If some weird guy with a beard saw coronavirus coming 466 years ago, we tell ourselves, not only was it unavoidable, but it must be \u003cem>happening for a reason\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And if that notion gets you through this tough period, then it’s a notion that’s cruel to argue with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Passionfruit’s Globe-Trotting DJ Mixes Tell Stories Through Disco",
"headTitle": "Passionfruit’s Globe-Trotting DJ Mixes Tell Stories Through Disco | KQED",
"content": "\u003cp>When you press play on one of \u003ca href=\"https://www.instagram.com/passionfruit.wav/\" target=\"_blank\" rel=\"noopener noreferrer\">Passionfruit\u003c/a>’s mixes, you might find yourself swept away on a whirlwind world tour. Suddenly, a funky pulse becomes your compass as you dance your way through Ghana, Colombia, Australia and Japan.\u003c/p>\n\u003cp>Like most of us, the Bay Area DJ and avid traveler is stuck at home right now. But the mixes she’s put out during the pandemic have attracted an international audience that comes for her wide-ranging musical knowledge and savvy curation of global rhythms.\u003c/p>\n\u003cp>“The idea of home has always been complicated for me, and I never really feel at home unless I’m in a room with lots of different accents,” Passionfruit, real name Tana Yonas, says of her eclectic taste, nurtured in part by her Ethiopian family and multicultural group of friends. “I love the concept of ‘third culture kid’ because I definitely am one of those. Most of my friends are either immigrants or children of immigrants.”\u003c/p>\n\u003cp>Yonas is an \u003ca href=\"https://tanayonas.com/\" target=\"_blank\" rel=\"noopener noreferrer\">event producer\u003c/a> by day whose resume includes major festivals such as Coachella, Envision in Costa Rica and Harvest in Turkey. Whether traveling for work or on a solo adventure, she’s always made it a point to follow her ears to each destination’s music scene. Chatting up locals in Berlin and pulling out Shazam at markets in Morocco, Yonas has built a massive record collection of international funk, disco and other dance music mostly from the ’60s, ’70s and ’80s, and found surprising links between different cultures while doing it. Her mixes tap into a universal sense of celebration and connection, and speak to how different cultures have thrived in spite of colonization and other forms of oppression.\u003c/p>\n\u003cp>https://youtu.be/saJy8OkYlgo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a trip to Colombia in 2018, for instance, Yonas found herself drawn to a quick-footed, percussive genre called champeta she heard throughout Cartagena. “It sounds African. I was like, ‘What the hell is this?’ It was playing everywhere,” she says. As a person of the African diaspora herself, she was particularly intrigued because “you hear people talking about Latinidad or Latinx unity, but a lot of times Black voices or art are forgotten.”\u003c/p>\n\u003cp>She managed to ask a shopkeeper using her limited Spanish, and he went to his shed and fished out a stack of champeta records for her. Later, in California, one of Yonas’ friends noted that champeta sounds like a Congolese genre called soukous. Curious, Yonas did some research, discovering that soukous arrived in Cartagena in the ’80s and instantly resonated with locals, many of whom trace their heritage back to Africa via the trans-Atlantic slave trade. She also learned that Cartagena was where the first enslaved people \u003ca href=\"https://news.uci.edu/2019/01/02/reconstructing-latin-americas-african-past/\" target=\"_blank\" rel=\"noopener noreferrer\">freed themselves\u003c/a> in the Americas.\u003c/p>\n\u003cp>“The resilience of people is what makes music so beautiful,” Yonas notes.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/974740315&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Yonas’ adventurous ear has led her to appreciate the African diaspora’s many contributions to popular music all over the world, even in places one wouldn’t expect. That deep listening has helped her come into her own personal power—something she didn’t always feel connected to while growing up in a majority-white suburb in the Inland Empire of Southern California.\u003c/p>\n\u003cp>“It’s been a long journey to have this self-acceptance,” she says.\u003c/p>\n\u003cp>Yonas credits her film and cultural studies program at UC Riverside for giving her a more critical lens on race and identity. Her first DJing experiences were on UC Riverside’s radio station, \u003ca href=\"https://kucr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">KUCR\u003c/a>. And on one of the nation’s most diverse university campuses, she learned to shed old notions of low self-worth. “The way I thought about myself was basically how colonialism and capitalism intersect,” Yonas reflects. “It’s built for people to hate themselves and prioritize the dominant culture that capitalism feeds people.”\u003c/p>\n\u003cp>Now, Yonas sees her DJ work as part of a bigger, spiritual purpose. “Something I think about a lot is that the voices of the ancestors are still in the music. So for me to be a caretaker of that—I’m not just a DJ of, ‘These are some dope tracks to get down to,’” she says, making sure to note that the right groove is important to her too.\u003c/p>\n\u003cp>But passing on and preserving overlooked musical traditions is a core part of her work. She wants to honor “particularly the voices of Africans because it has been suppressed in such an intense way, and the amount of beauty is so overwhelming, that I do feel more of a sensitivity in helping protect and share those sounds.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/938452276&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Yonas has been doing just that with her music-history articles on vinyl collector site \u003ca href=\"https://insheepsclothinghifi.com/yma-sumac-the-queen-of-exotica/\" target=\"_blank\" rel=\"noopener noreferrer\">In Sheeps Clothing\u003c/a> and mixes for a variety of international online radio stations, some of which sprung up when the pandemic pushed DJ culture completely online. In addition to making mixes for \u003ca href=\"https://hydefm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HydeFM\u003c/a> in San Francisco, \u003ca href=\"https://www.mixcloud.com/MeanwoodRadio/\" target=\"_blank\" rel=\"noopener noreferrer\">Meanwood Radio\u003c/a> in Leeds and \u003ca href=\"https://thfradio.de/\" target=\"_blank\" rel=\"noopener noreferrer\">THF Radio\u003c/a> in Berlin, she’s a resident DJ at Palestinian station \u003ca href=\"https://yamakan.place/palestine/\" target=\"_blank\" rel=\"noopener noreferrer\">Radio Alhara\u003c/a>, which is based in Bethlehem and has headquarters in Beirut and Tokyo. “They made room for me and were happy to have me, which is awesome, especially as a new DJ,” she says.\u003c/p>\n\u003cp>These international collaborations have allowed Yonas to keep traveling, if only in her imagination, and grow her global community of likeminded listeners. “I’m not one of those DJs who won’t tell you what I’m playing or show up to a gig with the vinyl whited out,” Yonas says. “It’s this scarcity mindset that, in general, I just don’t live by.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More of Passionfruit’s recent mixes and other projects can be found \u003ca href=\"https://linktr.ee/passionfruit.wav/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you press play on one of \u003ca href=\"https://www.instagram.com/passionfruit.wav/\" target=\"_blank\" rel=\"noopener noreferrer\">Passionfruit\u003c/a>’s mixes, you might find yourself swept away on a whirlwind world tour. Suddenly, a funky pulse becomes your compass as you dance your way through Ghana, Colombia, Australia and Japan.\u003c/p>\n\u003cp>Like most of us, the Bay Area DJ and avid traveler is stuck at home right now. But the mixes she’s put out during the pandemic have attracted an international audience that comes for her wide-ranging musical knowledge and savvy curation of global rhythms.\u003c/p>\n\u003cp>“The idea of home has always been complicated for me, and I never really feel at home unless I’m in a room with lots of different accents,” Passionfruit, real name Tana Yonas, says of her eclectic taste, nurtured in part by her Ethiopian family and multicultural group of friends. “I love the concept of ‘third culture kid’ because I definitely am one of those. Most of my friends are either immigrants or children of immigrants.”\u003c/p>\n\u003cp>Yonas is an \u003ca href=\"https://tanayonas.com/\" target=\"_blank\" rel=\"noopener noreferrer\">event producer\u003c/a> by day whose resume includes major festivals such as Coachella, Envision in Costa Rica and Harvest in Turkey. Whether traveling for work or on a solo adventure, she’s always made it a point to follow her ears to each destination’s music scene. Chatting up locals in Berlin and pulling out Shazam at markets in Morocco, Yonas has built a massive record collection of international funk, disco and other dance music mostly from the ’60s, ’70s and ’80s, and found surprising links between different cultures while doing it. Her mixes tap into a universal sense of celebration and connection, and speak to how different cultures have thrived in spite of colonization and other forms of oppression.\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/saJy8OkYlgo'\n title='//www.youtube.com/embed/saJy8OkYlgo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a trip to Colombia in 2018, for instance, Yonas found herself drawn to a quick-footed, percussive genre called champeta she heard throughout Cartagena. “It sounds African. I was like, ‘What the hell is this?’ It was playing everywhere,” she says. As a person of the African diaspora herself, she was particularly intrigued because “you hear people talking about Latinidad or Latinx unity, but a lot of times Black voices or art are forgotten.”\u003c/p>\n\u003cp>She managed to ask a shopkeeper using her limited Spanish, and he went to his shed and fished out a stack of champeta records for her. Later, in California, one of Yonas’ friends noted that champeta sounds like a Congolese genre called soukous. Curious, Yonas did some research, discovering that soukous arrived in Cartagena in the ’80s and instantly resonated with locals, many of whom trace their heritage back to Africa via the trans-Atlantic slave trade. She also learned that Cartagena was where the first enslaved people \u003ca href=\"https://news.uci.edu/2019/01/02/reconstructing-latin-americas-african-past/\" target=\"_blank\" rel=\"noopener noreferrer\">freed themselves\u003c/a> in the Americas.\u003c/p>\n\u003cp>“The resilience of people is what makes music so beautiful,” Yonas notes.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/974740315&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Yonas’ adventurous ear has led her to appreciate the African diaspora’s many contributions to popular music all over the world, even in places one wouldn’t expect. That deep listening has helped her come into her own personal power—something she didn’t always feel connected to while growing up in a majority-white suburb in the Inland Empire of Southern California.\u003c/p>\n\u003cp>“It’s been a long journey to have this self-acceptance,” she says.\u003c/p>\n\u003cp>Yonas credits her film and cultural studies program at UC Riverside for giving her a more critical lens on race and identity. Her first DJing experiences were on UC Riverside’s radio station, \u003ca href=\"https://kucr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">KUCR\u003c/a>. And on one of the nation’s most diverse university campuses, she learned to shed old notions of low self-worth. “The way I thought about myself was basically how colonialism and capitalism intersect,” Yonas reflects. “It’s built for people to hate themselves and prioritize the dominant culture that capitalism feeds people.”\u003c/p>\n\u003cp>Now, Yonas sees her DJ work as part of a bigger, spiritual purpose. “Something I think about a lot is that the voices of the ancestors are still in the music. So for me to be a caretaker of that—I’m not just a DJ of, ‘These are some dope tracks to get down to,’” she says, making sure to note that the right groove is important to her too.\u003c/p>\n\u003cp>But passing on and preserving overlooked musical traditions is a core part of her work. She wants to honor “particularly the voices of Africans because it has been suppressed in such an intense way, and the amount of beauty is so overwhelming, that I do feel more of a sensitivity in helping protect and share those sounds.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/938452276&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Yonas has been doing just that with her music-history articles on vinyl collector site \u003ca href=\"https://insheepsclothinghifi.com/yma-sumac-the-queen-of-exotica/\" target=\"_blank\" rel=\"noopener noreferrer\">In Sheeps Clothing\u003c/a> and mixes for a variety of international online radio stations, some of which sprung up when the pandemic pushed DJ culture completely online. In addition to making mixes for \u003ca href=\"https://hydefm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HydeFM\u003c/a> in San Francisco, \u003ca href=\"https://www.mixcloud.com/MeanwoodRadio/\" target=\"_blank\" rel=\"noopener noreferrer\">Meanwood Radio\u003c/a> in Leeds and \u003ca href=\"https://thfradio.de/\" target=\"_blank\" rel=\"noopener noreferrer\">THF Radio\u003c/a> in Berlin, she’s a resident DJ at Palestinian station \u003ca href=\"https://yamakan.place/palestine/\" target=\"_blank\" rel=\"noopener noreferrer\">Radio Alhara\u003c/a>, which is based in Bethlehem and has headquarters in Beirut and Tokyo. “They made room for me and were happy to have me, which is awesome, especially as a new DJ,” she says.\u003c/p>\n\u003cp>These international collaborations have allowed Yonas to keep traveling, if only in her imagination, and grow her global community of likeminded listeners. “I’m not one of those DJs who won’t tell you what I’m playing or show up to a gig with the vinyl whited out,” Yonas says. “It’s this scarcity mindset that, in general, I just don’t live by.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More of Passionfruit’s recent mixes and other projects can be found \u003ca href=\"https://linktr.ee/passionfruit.wav/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The COVID-19 crisis is nearing its second year in the Bay Area, and it’s no secret that small businesses are struggling—especially during the current wave of tougher restrictions and climbing infection rates.\u003c/p>\n\u003cp>Today, San Francisco Mayor London Breed proposed two new small business grant and loan programs that aim to offer some relief in this challenging climate. The $62 million plan could be a boon for arts organizations waiting for funding from the state and federal governments, such as, for instance, the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> grant program for independent music venues. Congress passed it in December along with its latest pandemic stimulus package, but funds \u003ca href=\"https://www.billboard.com/articles/business/9509810/save-our-stages-act-passage-niva-director-next-steps/?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">may not be disbursed for months\u003c/a>, and many concert venue owners have said that they are weeks or months away from closing permanently if help doesn’t arrive soon. [aside postid='arts_13890093']\u003c/p>\n\u003cp>Breed’s new plan offers $12.4 million in grants for small businesses, which will be given out in amounts of $5,000-$20,000 depending on the number of employees the business had in February 2020. The grants prioritize businesses owned by people of color and women, long-standing businesses, those most impacted by stay-at-home orders and those unable to access state and federal programs.\u003c/p>\n\u003cp>At today’s Board of Supervisors meeting, Breed said that music and nightlife venues would be among the businesses prioritized. Most of them haven’t been able to operate in any capacity—other than the few selling merchandise or to-go drinks—since March. Yet the San Francisco Venue Coalition estimates that most music venues’ monthly overhead costs are between $18,000–$35,000; many of them have racked up substantial debt, and some, like The Stud, have opted to close for good.\u003c/p>\n\u003cp>Breed emphasized the importance of preserving the city’s nightlife and entertainment venues so there are places to celebrate when the pandemic is over.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The remaining $50 million of the proposed program will go to low-to-no interest small business loans, distributed in amounts of up to $250,000. The goal of the loan program is to stabilize the workforce, the mayor’s announcement says, and to retain and create jobs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breed’s office is working with other departments of San Francisco government to cut their expenditures in order to fund this proposal. To go into effect, it’ll require the Board of Supervisors to approve a new ordinance that will be introduced later this month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The COVID-19 crisis is nearing its second year in the Bay Area, and it’s no secret that small businesses are struggling—especially during the current wave of tougher restrictions and climbing infection rates.\u003c/p>\n\u003cp>Today, San Francisco Mayor London Breed proposed two new small business grant and loan programs that aim to offer some relief in this challenging climate. The $62 million plan could be a boon for arts organizations waiting for funding from the state and federal governments, such as, for instance, the \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> grant program for independent music venues. Congress passed it in December along with its latest pandemic stimulus package, but funds \u003ca href=\"https://www.billboard.com/articles/business/9509810/save-our-stages-act-passage-niva-director-next-steps/?utm_medium=social&utm_source=twitter\" target=\"_blank\" rel=\"noopener noreferrer\">may not be disbursed for months\u003c/a>, and many concert venue owners have said that they are weeks or months away from closing permanently if help doesn’t arrive soon. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Breed’s new plan offers $12.4 million in grants for small businesses, which will be given out in amounts of $5,000-$20,000 depending on the number of employees the business had in February 2020. The grants prioritize businesses owned by people of color and women, long-standing businesses, those most impacted by stay-at-home orders and those unable to access state and federal programs.\u003c/p>\n\u003cp>At today’s Board of Supervisors meeting, Breed said that music and nightlife venues would be among the businesses prioritized. Most of them haven’t been able to operate in any capacity—other than the few selling merchandise or to-go drinks—since March. Yet the San Francisco Venue Coalition estimates that most music venues’ monthly overhead costs are between $18,000–$35,000; many of them have racked up substantial debt, and some, like The Stud, have opted to close for good.\u003c/p>\n\u003cp>Breed emphasized the importance of preserving the city’s nightlife and entertainment venues so there are places to celebrate when the pandemic is over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The remaining $50 million of the proposed program will go to low-to-no interest small business loans, distributed in amounts of up to $250,000. The goal of the loan program is to stabilize the workforce, the mayor’s announcement says, and to retain and create jobs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breed’s office is working with other departments of San Francisco government to cut their expenditures in order to fund this proposal. To go into effect, it’ll require the Board of Supervisors to approve a new ordinance that will be introduced later this month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Artist Creates a Place to Grieve on Twitch During Holidays in Lockdown",
"headTitle": "An Artist Creates a Place to Grieve on Twitch During Holidays in Lockdown | KQED",
"content": "\u003cp>“If it wasn’t for the pandemic, would I have visited you? Could I have gone to your funeral?” “You haunt my dreams. Every time I wake up, there are five seconds where I think it’s real, and then I remember it’s not. I miss you.” These are two of the grief-filled messages that Bay Area artist \u003ca href=\"https://www.mroliverblank.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oliver Blank\u003c/a> has received during his live call-in show \u003ca href=\"https://www.twitch.tv/mroliverblank/about\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitch\u003c/a>, \u003ca href=\"https://www.mroliverblank.com/art-index/the-one-who-got-away\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The One Who Got Away\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Amid the pandemic, we’re all experiencing collective sorrow. Millions of people have lost loved ones to the novel coronavirus, and millions of Americans remain unemployed. And even though the holidays are upon us, COVID cases continue to surge, which makes celebrating with friends and family members in-person ill advised.\u003c/p>\n\u003cp>Blank hopes his show helps people weather this bleak time. “As the lockdown came into effect, people confronted the loss of their futures. The show is a place where we can reflect and feel our grief together,” says the artist.\u003c/p>\n\u003cfigure id=\"attachment_13890712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/2020-01-03-08.26.29-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2020-01-03-08.26.29-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2020-01-03-08.26.29-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2020-01-03-08.26.29-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2020-01-03-08.26.29-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2020-01-03-08.26.29-1.jpg 1438w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Oliver Blank. \u003ccite>(Oliver Blank)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The live show is Blank’s latest version of the project he started in 2014 for the PBS show \u003cem>The Art Assignment\u003c/em>. Blank set up a phone number and voicemail for people to call and leave an anonymous message with their answer to this question: “What would you say to the one who got away?”\u003c/p>\n\u003cp>Since the phone line opened, thousands of callers have left messages for “their one who got away.” In 2018, Blank adapted the project into a \u003ca href=\"https://www.mroliverblank.com/art-index/the-one-who-got-away\" target=\"_blank\" rel=\"noopener noreferrer\">podcast\u003c/a>, and not long after the pandemic began, he started the live show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the past nine months, callers have spoken about their pandemic-induced grief. Blank says most messages are directed towards friends, family members or lost loves. “We all have a relationship or opportunity that got away from us, and the pandemic is democratizing grief and loss for everyone,” he says.\u003c/p>\n\u003cp>Blank begins his 60-minute show with a short introduction: “This show is a place to feel what we need to feel. This show is for all of us,” he tells listeners. Then he plays some of the older phone messages and hears from callers who want to share a message with their “one who got away.”\u003c/p>\n\u003cp>Messages from callers are often laced with regret, “I would say, I think of you every day. My only regret is losing you,” one caller shared. “I’m sorry I wasn’t as brave as you were,” another person said. Callers also express their shock and anger: “I don’t know what to say. You left the most damaging wound.”\u003c/p>\n\u003cp>Whether it’s regret, sadness or a plea for forgiveness, each person’s message illuminates the universal emotions that accompany grief. “I don’t select the phone messages beforehand. With the audience, we’re listening and feeling the experience together,” Blank explains. [aside postid='arts_13890197']\u003c/p>\n\u003cp>After playing each message, he takes the opportunity to remind listeners that it’s never too late to speak their truth: “Take a step and reach out. It’s okay if you missed your chance,” he says.\u003c/p>\n\u003cp>Researchers state that COVID-induced grief may result in “\u003ca href=\"https://www.apa.org/monitor/2018/11/ce-corner\" target=\"_blank\" rel=\"noopener noreferrer\">prolonged grief disorder\u003c/a>” because traditional rituals like funerals and sitting Shiva haven’t taken place, which has erased the chance to say goodbye. Hearing about another person’s loss, however, can remind us that we’re not alone, which can foster healing.\u003c/p>\n\u003cp>Listeners might categorize Blank’s show as a form of “self-help,” but the artist says \u003cem>The One Who Got Away\u003c/em> isn’t meant to replace psychotherapy. Still, he hopes hearing other people’s stories helps people turn regret into self-reflection and instills them with a sense of closure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Closure means something different for everyone,” he says. “It might mean saying goodbye or finally getting to share whatever you need to say.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“If it wasn’t for the pandemic, would I have visited you? Could I have gone to your funeral?” “You haunt my dreams. Every time I wake up, there are five seconds where I think it’s real, and then I remember it’s not. I miss you.” These are two of the grief-filled messages that Bay Area artist \u003ca href=\"https://www.mroliverblank.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oliver Blank\u003c/a> has received during his live call-in show \u003ca href=\"https://www.twitch.tv/mroliverblank/about\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitch\u003c/a>, \u003ca href=\"https://www.mroliverblank.com/art-index/the-one-who-got-away\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The One Who Got Away\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Amid the pandemic, we’re all experiencing collective sorrow. Millions of people have lost loved ones to the novel coronavirus, and millions of Americans remain unemployed. And even though the holidays are upon us, COVID cases continue to surge, which makes celebrating with friends and family members in-person ill advised.\u003c/p>\n\u003cp>Blank hopes his show helps people weather this bleak time. “As the lockdown came into effect, people confronted the loss of their futures. The show is a place where we can reflect and feel our grief together,” says the artist.\u003c/p>\n\u003cfigure id=\"attachment_13890712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/2020-01-03-08.26.29-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2020-01-03-08.26.29-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2020-01-03-08.26.29-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2020-01-03-08.26.29-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2020-01-03-08.26.29-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/2020-01-03-08.26.29-1.jpg 1438w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Oliver Blank. \u003ccite>(Oliver Blank)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The live show is Blank’s latest version of the project he started in 2014 for the PBS show \u003cem>The Art Assignment\u003c/em>. Blank set up a phone number and voicemail for people to call and leave an anonymous message with their answer to this question: “What would you say to the one who got away?”\u003c/p>\n\u003cp>Since the phone line opened, thousands of callers have left messages for “their one who got away.” In 2018, Blank adapted the project into a \u003ca href=\"https://www.mroliverblank.com/art-index/the-one-who-got-away\" target=\"_blank\" rel=\"noopener noreferrer\">podcast\u003c/a>, and not long after the pandemic began, he started the live show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the past nine months, callers have spoken about their pandemic-induced grief. Blank says most messages are directed towards friends, family members or lost loves. “We all have a relationship or opportunity that got away from us, and the pandemic is democratizing grief and loss for everyone,” he says.\u003c/p>\n\u003cp>Blank begins his 60-minute show with a short introduction: “This show is a place to feel what we need to feel. This show is for all of us,” he tells listeners. Then he plays some of the older phone messages and hears from callers who want to share a message with their “one who got away.”\u003c/p>\n\u003cp>Messages from callers are often laced with regret, “I would say, I think of you every day. My only regret is losing you,” one caller shared. “I’m sorry I wasn’t as brave as you were,” another person said. Callers also express their shock and anger: “I don’t know what to say. You left the most damaging wound.”\u003c/p>\n\u003cp>Whether it’s regret, sadness or a plea for forgiveness, each person’s message illuminates the universal emotions that accompany grief. “I don’t select the phone messages beforehand. With the audience, we’re listening and feeling the experience together,” Blank explains. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After playing each message, he takes the opportunity to remind listeners that it’s never too late to speak their truth: “Take a step and reach out. It’s okay if you missed your chance,” he says.\u003c/p>\n\u003cp>Researchers state that COVID-induced grief may result in “\u003ca href=\"https://www.apa.org/monitor/2018/11/ce-corner\" target=\"_blank\" rel=\"noopener noreferrer\">prolonged grief disorder\u003c/a>” because traditional rituals like funerals and sitting Shiva haven’t taken place, which has erased the chance to say goodbye. Hearing about another person’s loss, however, can remind us that we’re not alone, which can foster healing.\u003c/p>\n\u003cp>Listeners might categorize Blank’s show as a form of “self-help,” but the artist says \u003cem>The One Who Got Away\u003c/em> isn’t meant to replace psychotherapy. Still, he hopes hearing other people’s stories helps people turn regret into self-reflection and instills them with a sense of closure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Closure means something different for everyone,” he says. “It might mean saying goodbye or finally getting to share whatever you need to say.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Save Our Stages Act Included in Stimulus Package, Promises Relief for Venues",
"headTitle": "Save Our Stages Act Included in Stimulus Package, Promises Relief for Venues | KQED",
"content": "\u003cp>Help might be on the way for independent music venues, which have been in dire financial straits since the pandemic began. With no revenue coming in, some venue owners have \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">called it quits\u003c/a> and gone out of business. Meanwhile, others have \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">dug into their retirements\u003c/a> and amassed debt to hang on to their establishments until the vaccine arrives. Crowdfunding, selling merchandise or \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">grants from philanthropic foundations\u003c/a> have provided some relief, but not enough to cover an average San Francisco concert hall’s estimated $18,000–$35,000 monthly overhead costs.\u003c/p>\n\u003cp>The long-awaited \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> promises some help. It’s part of the COVID-19 stimulus package that Congressional Democrats and Republicans finally agreed upon on Sunday after months of stalling and debate. The House and Senate must now pass the bill, and President Trump must sign it, before it becomes law. If passed, $15 billion would go to grant programs for live venues, independent movie theaters and other cultural institutions, according to a statement from House Speaker Nancy Pelosi and Senate Minority Leader Chuck Schumer. Each qualifying venue would be awarded a grant equal to 45% of its 2019 operating costs, or up to $12 million.\u003c/p>\n\u003cp>Dayna Frank, board president of the National Independent Venue Association, praised the compromise in a statement. She heads an advocacy group of club owners that includes over 100 members in Northern California. “We’re also incredibly grateful that this bill provides Pandemic Unemployment Assistance which will help the millions of people who lost their jobs through no fault of their own during this economic crisis,” she wrote. “We urge swift passage of this legislation, which will assist those in the greatest need and ensure the music lives on for generations to come.”\u003c/p>\n\u003cp>Timing is crucial for Bay Area music venues, which were already operating on thin profit margins due to high rent and mortgage costs. Recently, some club owners have said they’re weeks or months away from closing. [aside postid='arts_13890093']\u003c/p>\n\u003cp>While pleased with the compromise, San Francisco Venue Coalition member Casey Lowdermilk says he’s cautiously optimistic. “There are a lot of steps still to be done—implementation, distribution and tracking all the venues in San Francisco to make sure they can get this money and survive this shutdown,” says Lowdermilk, who is also the assistant general manager of Bill Graham Civic Auditorium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says the San Francisco Venue Coalition will continue its campaign in city hall, which urges San Francisco to set aside $48 million to allow around 50 music venues to survive 16–18 months of closure. “We’re kind of concerned that federal money might not be timely enough, so we’re still pushing forward in San Francisco as planned,” Lowdermilk says.\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney also emphasized the sense of urgency. “I\u003cspan class=\"s1\"> think our concern now is how quickly that money can be disbursed,” he says. “Some of these venues are weeks or months away from going under. They can’t wait until next year or for the federal bureaucracy to figure it out.”\u003c/span>\u003c/p>\n\u003cp>Last week, Haney proposed the creation of the San Francisco Independent Venue Recovery Fund. It doesn’t have a dollar figure attached to it yet, and the Board of Supervisors is set to discuss it at tomorrow’s meeting on Dec. 22.\u003c/p>\n\u003cp>Haney says that while this federal stimulus package doesn’t include funds directly for city and state governments—which San Francisco badly needs to avoid job and service cuts—his office is researching options for funding music venue relief. Those could include soliciting donations from the private sector, or a loan program that can provide relief in the short term until Save Our Stages money arrives.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“These venues have a lot of people who love them and want to support them,” Haney says. “T\u003c/span>\u003cspan class=\"s1\">he local funding is challenging obviously because we’re facing a massive deficit and are going to make a lot of cuts to our budget. But I think this should be prioritized, especially if it’s money that can be matched or reimbursed at a later date. … I\u003c/span>\u003cspan class=\"s1\">f San Francisco loses these venues, the longterm impacts will be very severe.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include quotes from Supervisor Matt Haney.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Help might be on the way for independent music venues, which have been in dire financial straits since the pandemic began. With no revenue coming in, some venue owners have \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">called it quits\u003c/a> and gone out of business. Meanwhile, others have \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">dug into their retirements\u003c/a> and amassed debt to hang on to their establishments until the vaccine arrives. Crowdfunding, selling merchandise or \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">grants from philanthropic foundations\u003c/a> have provided some relief, but not enough to cover an average San Francisco concert hall’s estimated $18,000–$35,000 monthly overhead costs.\u003c/p>\n\u003cp>The long-awaited \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> promises some help. It’s part of the COVID-19 stimulus package that Congressional Democrats and Republicans finally agreed upon on Sunday after months of stalling and debate. The House and Senate must now pass the bill, and President Trump must sign it, before it becomes law. If passed, $15 billion would go to grant programs for live venues, independent movie theaters and other cultural institutions, according to a statement from House Speaker Nancy Pelosi and Senate Minority Leader Chuck Schumer. Each qualifying venue would be awarded a grant equal to 45% of its 2019 operating costs, or up to $12 million.\u003c/p>\n\u003cp>Dayna Frank, board president of the National Independent Venue Association, praised the compromise in a statement. She heads an advocacy group of club owners that includes over 100 members in Northern California. “We’re also incredibly grateful that this bill provides Pandemic Unemployment Assistance which will help the millions of people who lost their jobs through no fault of their own during this economic crisis,” she wrote. “We urge swift passage of this legislation, which will assist those in the greatest need and ensure the music lives on for generations to come.”\u003c/p>\n\u003cp>Timing is crucial for Bay Area music venues, which were already operating on thin profit margins due to high rent and mortgage costs. Recently, some club owners have said they’re weeks or months away from closing. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While pleased with the compromise, San Francisco Venue Coalition member Casey Lowdermilk says he’s cautiously optimistic. “There are a lot of steps still to be done—implementation, distribution and tracking all the venues in San Francisco to make sure they can get this money and survive this shutdown,” says Lowdermilk, who is also the assistant general manager of Bill Graham Civic Auditorium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says the San Francisco Venue Coalition will continue its campaign in city hall, which urges San Francisco to set aside $48 million to allow around 50 music venues to survive 16–18 months of closure. “We’re kind of concerned that federal money might not be timely enough, so we’re still pushing forward in San Francisco as planned,” Lowdermilk says.\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney also emphasized the sense of urgency. “I\u003cspan class=\"s1\"> think our concern now is how quickly that money can be disbursed,” he says. “Some of these venues are weeks or months away from going under. They can’t wait until next year or for the federal bureaucracy to figure it out.”\u003c/span>\u003c/p>\n\u003cp>Last week, Haney proposed the creation of the San Francisco Independent Venue Recovery Fund. It doesn’t have a dollar figure attached to it yet, and the Board of Supervisors is set to discuss it at tomorrow’s meeting on Dec. 22.\u003c/p>\n\u003cp>Haney says that while this federal stimulus package doesn’t include funds directly for city and state governments—which San Francisco badly needs to avoid job and service cuts—his office is researching options for funding music venue relief. Those could include soliciting donations from the private sector, or a loan program that can provide relief in the short term until Save Our Stages money arrives.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“These venues have a lot of people who love them and want to support them,” Haney says. “T\u003c/span>\u003cspan class=\"s1\">he local funding is challenging obviously because we’re facing a massive deficit and are going to make a lot of cuts to our budget. But I think this should be prioritized, especially if it’s money that can be matched or reimbursed at a later date. … I\u003c/span>\u003cspan class=\"s1\">f San Francisco loses these venues, the longterm impacts will be very severe.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include quotes from Supervisor Matt Haney.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "George Clooney Says 'Midnight Sky' is About 'Our Desperate Need' to Be With Loved Ones",
"headTitle": "George Clooney Says ‘Midnight Sky’ is About ‘Our Desperate Need’ to Be With Loved Ones | KQED",
"content": "\u003cp>A global catastrophe has wiped out most of humanity. An astronomer living in an outpost inside the Arctic Circle is in a race against time to help the crew of a spacecraft returning from one of Jupiter’s moons.\u003c/p>\n\u003cp>That’s the premise of \u003cem>The Midnight Sky\u003c/em>, the new science fiction movie starring George Clooney. It’s based on the 2016 book \u003cem>Good Morning, Midnight\u003c/em> by Lily Brooks-Dalton. Though the story is set in 2049, the themes are very 2020.\u003c/p>\n\u003cp>“I always thought it was a film, when we started, about what we were capable of doing to one another,” Clooney, who also directed the movie, said in an interview with NPR’s \u003cem>Weekend Edition\u003c/em>.\u003c/p>\n\u003cp>Then the coronavirus pandemic hit.\u003c/p>\n\u003cp>“I was in post-production and started to realize that, no, what the film is and what the story is, is our desperate need to be home or to be with the people we love and to be in contact with them. And sometimes we forget that, and all of a sudden, you take it away so you can’t be in touch,” said Clooney.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think we all are going through a lot of that. And you’re at least reminded of how lucky you are to have somebody in your life that you love that much.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXUUqr3AFKs\u003c/p>\n\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>\u003cem>The Midnight Sky\u003c/em>\u003c/strong>\u003cstrong>‘s theme of regret and how it relates to the pandemic\u003c/strong>\u003c/p>\n\u003cp>Well, I will say this: I’m not filled with regret. Not that I don’t have the capacity for self-reflection. If I get hit by a bus tomorrow, I don’t think anybody who knows me would think that I didn’t get a lot out of life, you know, and try to add something to the conversation.\u003c/p>\n\u003cp>Having said that, I was, I think, probably doing what everyone was doing at the time [the pandemic began]. First, I couldn’t believe it—I couldn’t believe we were in the position we were in. And then I was worried, you know, I’ve got … a son who has asthma and you start to worry about just basic, “How are we going to do these things?”\u003c/p>\n\u003cp>\u003cstrong>On his two young children and the legacy he hopes to impart to them\u003c/strong>\u003c/p>\n\u003cp>Here’s the thing I want them to understand: the North Star for me, my parents drilled into my head from the time I was not much older than them, was if you only in your lifetime challenge people with power and defend people with less power, if you only do that in your life you will be a success. … If my kids have that in them, sort of burned into them, I think they’re going to be fine.\u003c/p>\n\u003cp>\u003cstrong>On the 1,000-page book that his wife, human rights lawyer Amal Clooney, recently co-wrote\u003c/strong>\u003c/p>\n\u003cp>Well, it was funny. So she was in the office upstairs doing her live book launch from … [a] Zoom meeting. And I’m in the office next door doing Howard Stern’s show at the same time. And so I can hear all these brilliant barristers and world leaders on Amal’s Zoom talking about how brilliant this book is and how it’s the game changer and the book that all of these people have been needing.\u003c/p>\n\u003cp>And then I’ve got Howard Stern and … he’s going, “So did you really crap in a cat box?”\u003c/p>\n\u003cp>\u003cstrong>On whether criticism he receives for being outspoken about certain causes makes him reconsider his approach\u003c/strong>\u003c/p>\n\u003cp>No. … Here’s the thing: Can you imagine how ashamed I would be to look at my son and daughter in 20 years and they come up to me and say, “Was there really a moment in time when we had a policy that said, ‘We’re going to disenfranchise people seeking asylum [and] make them not want to come here by taking their children away and putting them in cages?’ ”\u003c/p>\n\u003cp>And I would say, “Yes.” And they said, “And what did you say about it? What did you do about it?” And I would say, “Nothing.” I would be ashamed.\u003c/p>\n\u003cp>\u003cstrong>On how he’s been getting through quarantine\u003c/strong>\u003c/p>\n\u003cp>We do Zoom dinners. We did one with Norman Lear and we did one with the Obamas. … But my good pals, my best friends, all of us are on the same, on one message. In a strange way, we’ve spent more time talking to one another than we have in a long time. … And we’ve honestly needed it.\u003c/p>\n\u003cp>We’re all sort of in post-traumatic stress in a way. We’re all locked in, you know. People are dealing with having to teach their kids from home. … They’re dealing with the fear of dying, they’re dealing with the fear of losing their job. I mean, suddenly, everything is put in play that wasn’t before. And so this is going to be a while. And you really need to have the people you were closest to as close as they can be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Melissa Gray produced and edited the audio interview.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=George+Clooney%27s+New+Sci-Fi+Film+Is+About+%27Our+Desperate+Need%27+To+Be+With+Loved+Ones&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A global catastrophe has wiped out most of humanity. An astronomer living in an outpost inside the Arctic Circle is in a race against time to help the crew of a spacecraft returning from one of Jupiter’s moons.\u003c/p>\n\u003cp>That’s the premise of \u003cem>The Midnight Sky\u003c/em>, the new science fiction movie starring George Clooney. It’s based on the 2016 book \u003cem>Good Morning, Midnight\u003c/em> by Lily Brooks-Dalton. Though the story is set in 2049, the themes are very 2020.\u003c/p>\n\u003cp>“I always thought it was a film, when we started, about what we were capable of doing to one another,” Clooney, who also directed the movie, said in an interview with NPR’s \u003cem>Weekend Edition\u003c/em>.\u003c/p>\n\u003cp>Then the coronavirus pandemic hit.\u003c/p>\n\u003cp>“I was in post-production and started to realize that, no, what the film is and what the story is, is our desperate need to be home or to be with the people we love and to be in contact with them. And sometimes we forget that, and all of a sudden, you take it away so you can’t be in touch,” said Clooney.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think we all are going through a lot of that. And you’re at least reminded of how lucky you are to have somebody in your life that you love that much.”\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/DXUUqr3AFKs'\n title='//www.youtube.com/embed/DXUUqr3AFKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On \u003c/strong>\u003cstrong>\u003cem>The Midnight Sky\u003c/em>\u003c/strong>\u003cstrong>‘s theme of regret and how it relates to the pandemic\u003c/strong>\u003c/p>\n\u003cp>Well, I will say this: I’m not filled with regret. Not that I don’t have the capacity for self-reflection. If I get hit by a bus tomorrow, I don’t think anybody who knows me would think that I didn’t get a lot out of life, you know, and try to add something to the conversation.\u003c/p>\n\u003cp>Having said that, I was, I think, probably doing what everyone was doing at the time [the pandemic began]. First, I couldn’t believe it—I couldn’t believe we were in the position we were in. And then I was worried, you know, I’ve got … a son who has asthma and you start to worry about just basic, “How are we going to do these things?”\u003c/p>\n\u003cp>\u003cstrong>On his two young children and the legacy he hopes to impart to them\u003c/strong>\u003c/p>\n\u003cp>Here’s the thing I want them to understand: the North Star for me, my parents drilled into my head from the time I was not much older than them, was if you only in your lifetime challenge people with power and defend people with less power, if you only do that in your life you will be a success. … If my kids have that in them, sort of burned into them, I think they’re going to be fine.\u003c/p>\n\u003cp>\u003cstrong>On the 1,000-page book that his wife, human rights lawyer Amal Clooney, recently co-wrote\u003c/strong>\u003c/p>\n\u003cp>Well, it was funny. So she was in the office upstairs doing her live book launch from … [a] Zoom meeting. And I’m in the office next door doing Howard Stern’s show at the same time. And so I can hear all these brilliant barristers and world leaders on Amal’s Zoom talking about how brilliant this book is and how it’s the game changer and the book that all of these people have been needing.\u003c/p>\n\u003cp>And then I’ve got Howard Stern and … he’s going, “So did you really crap in a cat box?”\u003c/p>\n\u003cp>\u003cstrong>On whether criticism he receives for being outspoken about certain causes makes him reconsider his approach\u003c/strong>\u003c/p>\n\u003cp>No. … Here’s the thing: Can you imagine how ashamed I would be to look at my son and daughter in 20 years and they come up to me and say, “Was there really a moment in time when we had a policy that said, ‘We’re going to disenfranchise people seeking asylum [and] make them not want to come here by taking their children away and putting them in cages?’ ”\u003c/p>\n\u003cp>And I would say, “Yes.” And they said, “And what did you say about it? What did you do about it?” And I would say, “Nothing.” I would be ashamed.\u003c/p>\n\u003cp>\u003cstrong>On how he’s been getting through quarantine\u003c/strong>\u003c/p>\n\u003cp>We do Zoom dinners. We did one with Norman Lear and we did one with the Obamas. … But my good pals, my best friends, all of us are on the same, on one message. In a strange way, we’ve spent more time talking to one another than we have in a long time. … And we’ve honestly needed it.\u003c/p>\n\u003cp>We’re all sort of in post-traumatic stress in a way. We’re all locked in, you know. People are dealing with having to teach their kids from home. … They’re dealing with the fear of dying, they’re dealing with the fear of losing their job. I mean, suddenly, everything is put in play that wasn’t before. And so this is going to be a while. And you really need to have the people you were closest to as close as they can be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Melissa Gray produced and edited the audio interview.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=George+Clooney%27s+New+Sci-Fi+Film+Is+About+%27Our+Desperate+Need%27+To+Be+With+Loved+Ones&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> To protect the identities of some individuals interviewed for this story due to immigration status, only first and middle names were used.\u003c/em>\u003c/p>\n\u003cp>One evening back in June, José Antonio’s cell phone rang. He saw it was his boss calling and realized it could only mean one thing. It had been weeks since they had a new client. For almost his entire adult life, José Antonio has worked as a carpenter. He managed to keep his job through past crises, but he knew that this time he wouldn’t be as lucky.\u003c/p>\n\u003cp>“I felt it in my fingertips. But I didn’t even want to think about it because it brought me down,” he says in Spanish. “When I lost my job, all I could think about was how I could buy food for my family. We had no savings, nothing. I had to think fast.”\u003c/p>\n\u003cp>Looking for ideas, the 41-year-old Oakland resident and father of two went on a walk. Once outside, he realized that he forgot his face mask. That was it: \u003cem>face masks\u003c/em>. That was what was going to get him through this.\u003c/p>\n\u003cp>“Necessity, brother. Necessity is the biggest reason that exists in the world. The need to bring home something to eat everyday,” he says. “When you’re in that spot, your brain thinks a lot quicker.” He had no resources to open up a store and doesn’t qualify for federal benefits. But he knows Oakland well, especially his own neighborhood, Fruitvale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A friend who was traveling to Los Angeles for the weekend told him that he was buying boxes with hundreds of face masks on his trip. Turns out these weren’t simple KN95 or blue surgical masks, but instead a wild collection of designs and prints with the logos of European soccer teams, the faces of Mexican banda music superstars and even Spiderman.\u003c/p>\n\u003cp>He bought a small foldable plastic table and pieces of cardboard where he organizes dozens of face masks, each wrapped in plastic. He placed his stand on several blocks throughout Fruitvale until he decided on a parking lot outside a supermarket, near International Boulevard.\u003c/p>\n\u003cp>“People treat me well here, the manager of the supermarket here has been good to us and lets us street vendors sell here,” José Antonio says. He keeps to himself while he works, except to speak to customers. However, he’s started to notice that almost every week, there’s a new face mask seller in Oakland.\u003c/p>\n\u003cp>“There’s a lot of competition, but still space for everyone. Many travel all around the Bay looking for a place to sell,” he explains. A few blocks down International, there’s another mask seller. Get on BART for one stop, and you might meet several more near the Coliseum.\u003c/p>\n\u003cfigure id=\"attachment_13890514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890514 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jose%CC%81-Antonio-and-his-booth-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">After losing his job as a carpenter, José Antonio began selling face masks in Oakland. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People ask me if this is how I do my part to stop the pandemic. And I tell them, of course! Of course I am!” says María. She sells her face masks in San Francisco’s Mission District, near 23rd Street.\u003c/p>\n\u003cp>María is retired and has lived in San Francisco since she arrived from El Salvador 35 years ago. Selling masks helps her cover some expenses, but she started selling so she could have a reason to leave the house, at least on the weekends. “I started to do this because I could no longer stay inside my house everyday. Being alone in the house for five months is so boring. So I wanted to move around, figure out something that would keep me sane,” she says.\u003c/p>\n\u003cp>An experienced street seller, María has sold all kinds of things. Clothing, imitation jewelry, accessories. “But never face masks. I had never even held one until this year,” she laughs. And now she’s honed her skills to find the most unique designs that catch a pedestrian’s eye.\u003c/p>\n\u003cp>[pullquote size='large' citation='González']“Ever since I came to this country, I’ve reinvented myself many times. To survive. Not to save money, but to survive. And now, face masks help me survive in so many ways.”[/pullquote]\u003c/p>\n\u003cp>What’s one of her most popular masks? A face mask printed with the Salvadoran president Nayib Bukele, smiling at the camera. “So many people ask for him. People ask for masks with their teams’ logo, their favorite brands—they ask for every type of design! Every type of taste you can imagine!”\u003c/p>\n\u003cp>While she values the aesthetic value of each mask, María cares that each mask actually protects her customers. Sitting on a chair next to her stall, she sees countless used surgical face masks flying through the street. She controls her frustration when she sees someone without one.\u003c/p>\n\u003cp>“One day a man buys me a face mask. The next day, I see him crossing the street with no mask. We can’t force anyone to do anything,” she says. “We can only control what we ourselves do, and for me, that’s making sure people have access to masks they can reuse, that they feel safe with.”\u003c/p>\n\u003cfigure id=\"attachment_13890515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890515 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Mari%CC%81a-at-her-stall-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">María sees her face mask business as a way of keeping her community safe. The Mission district, where she’s based, has one of San Francisco’s highest COVID-19 rates. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The risk of working all day outside is very present in María’s mind. Everyday, she hears in the news how the Mission is one of the neighborhoods in San Francisco most affected by coronavirus. \u003ca href=\"https://data.sfgov.org/stories/s/Maps-of-COVID-19-Cases/adm5-wq8i/\" target=\"_blank\" rel=\"noopener noreferrer\">According to the city\u003c/a>, the current monthly case rate in the Mission is 89 cases per 10,000 people, one of the highest in San Francisco.\u003c/p>\n\u003cp>But she still decides to come out and sell face masks. “I protect myself,” she says. “And I help others protect themselves.”\u003c/p>\n\u003ch2>“You Don’t Let Doors Close on You”\u003c/h2>\n\u003cp>Throughout the Bay Area, dozens of individuals have set up informal stalls on the sidewalk, parking lots and swap meets to sell face masks, an indicator of indispensable and undeniable necessity during the pandemic. Many have little to no experience selling in the streets, but selling face masks has been the only opportunity available during one of the worst economic crises in recent history.\u003c/p>\n\u003cp>“You don’t let doors close on you. If you want to survive, you have to hustle,” says González, who sells masks on Alum Rock Avenue in East San José, and asked to go by only his last name. He worked as a gardener for 15 years before losing his job during the summer. [aside postid='forum_2010101881190']\u003c/p>\n\u003cp>“Ever since I came to this country, I’ve reinvented myself many times. To survive. Not to save money, but to survive. And now, face masks help me survive in so many ways,” he says.\u003c/p>\n\u003cp>And while he does not count with a Nayib Bukele mask in his inventory, he still sells masks decorated with the face of another Latin American president, that of Andrés Manuel López Obrador, of México. Not the most popular design, he notes.\u003c/p>\n\u003cp>He takes great care in showing each mask, never removing them from the plastic wrapper. The masks up for display are not for sale. González explains that they’ve been out all day, exposed to all those that pass by. Whenever he sells, he never lets his guard down. The 95116 and 95112 zip codes that make up East San José registers the highest \u003ca href=\"https://www.sccgov.org/sites/covid19/Pages/dashboard-cases-by-zip-code-and-city.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">case rates\u003c/a> in all of Santa Clara County.\u003c/p>\n\u003cfigure id=\"attachment_13890516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Gonza%CC%81lez-at-his-booth-with-Lo%CC%81pez-Obrador-mask-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-2048x1537.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You don’t let doors close on you. If you want to survive, you have to hustle,” says San José face mask vendor González, who lost his job as a gardener during the pandemic. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over in Fruitvale, José Antonio shows the same resolve against similar odds. “I have a responsibility to my family,” he says. Fruitvale has also borne the brunt of the pandemic in Oakland.\u003c/p>\n\u003cp>One of the challenges health officials have faced in Fruitvale is making sure that COVID-19 prevention information reaches the Indigenous community, mostly composed of Mam-speaking immigrants from Guatemala. While public health information is available in both English and Spanish, there’s much less in Mam.\u003c/p>\n\u003cp>Some of the most popular designs at José Antonio’s stall are those embroidered with patterns popular in northern Guatemala, made by Indigenous artisans. “Having this design on is like wearing a small part of your tradition, but presented in a way where it now seems very normal,” he explains.\u003c/p>\n\u003cp>“Many of the people I know don’t want to be targeted when they show that they’re Indigenous,” he continues. “But when they wear a mask with these designs, no one points them out.”\u003c/p>\n\u003ch2>What Your Mask Says\u003c/h2>\n\u003cp>While some mask designs, like those emblazoned with sports teams logos, can be found in every street stand, it’s the handmade masks bearing embroidery crafted by Indigenous artisans that differ from stall to stall, from city to city. [aside label='More Arts & Culture' postid='arts_13890437,arts_13890207,arts_13890197']\u003c/p>\n\u003cp>“Folks come and feel the texture that is handmade. It’s so different from what exists in stores, all that factory-made stuff,” says César Augusto, whose stand is located on Mission and 23rd in San Francisco. Earlier this year, he was forced to close his store on 24th Street, where he sold craftwork by Indigenous artisans from all over the Americas for 17 years. He and his wife transformed their business into two booths, each full with artwork, earrings, and clothing.\u003c/p>\n\u003cp>“In a way, it was a good thing that we closed. It came at the right time. And now, I can breathe a little easier because I can start again, opening a new path for my wife and I,” he explains. Augusto migrated to the U.S. from Ecuador, where he was raised by a family of artisans. Holding a face mask his family sent him, he ponders on the value this piece of fabric has in his life now.\u003c/p>\n\u003cp>“They’ve become their own type of craftwork. I never imagined this would happen,” he says. The mask he’s wearing also comes from Ecuador, embroidered with Quechua patterns. A customer passes by and asks if he’s got any masks printed with the flag of Honduras. Turns out that they just ran out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“People always find ways to show the world where they come from and who they are, even during a pandemic,” Augusto says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> To protect the identities of some individuals interviewed for this story due to immigration status, only first and middle names were used.\u003c/em>\u003c/p>\n\u003cp>One evening back in June, José Antonio’s cell phone rang. He saw it was his boss calling and realized it could only mean one thing. It had been weeks since they had a new client. For almost his entire adult life, José Antonio has worked as a carpenter. He managed to keep his job through past crises, but he knew that this time he wouldn’t be as lucky.\u003c/p>\n\u003cp>“I felt it in my fingertips. But I didn’t even want to think about it because it brought me down,” he says in Spanish. “When I lost my job, all I could think about was how I could buy food for my family. We had no savings, nothing. I had to think fast.”\u003c/p>\n\u003cp>Looking for ideas, the 41-year-old Oakland resident and father of two went on a walk. Once outside, he realized that he forgot his face mask. That was it: \u003cem>face masks\u003c/em>. That was what was going to get him through this.\u003c/p>\n\u003cp>“Necessity, brother. Necessity is the biggest reason that exists in the world. The need to bring home something to eat everyday,” he says. “When you’re in that spot, your brain thinks a lot quicker.” He had no resources to open up a store and doesn’t qualify for federal benefits. But he knows Oakland well, especially his own neighborhood, Fruitvale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A friend who was traveling to Los Angeles for the weekend told him that he was buying boxes with hundreds of face masks on his trip. Turns out these weren’t simple KN95 or blue surgical masks, but instead a wild collection of designs and prints with the logos of European soccer teams, the faces of Mexican banda music superstars and even Spiderman.\u003c/p>\n\u003cp>He bought a small foldable plastic table and pieces of cardboard where he organizes dozens of face masks, each wrapped in plastic. He placed his stand on several blocks throughout Fruitvale until he decided on a parking lot outside a supermarket, near International Boulevard.\u003c/p>\n\u003cp>“People treat me well here, the manager of the supermarket here has been good to us and lets us street vendors sell here,” José Antonio says. He keeps to himself while he works, except to speak to customers. However, he’s started to notice that almost every week, there’s a new face mask seller in Oakland.\u003c/p>\n\u003cp>“There’s a lot of competition, but still space for everyone. Many travel all around the Bay looking for a place to sell,” he explains. A few blocks down International, there’s another mask seller. Get on BART for one stop, and you might meet several more near the Coliseum.\u003c/p>\n\u003cfigure id=\"attachment_13890514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890514 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jose%CC%81-Antonio-and-his-booth-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">After losing his job as a carpenter, José Antonio began selling face masks in Oakland. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People ask me if this is how I do my part to stop the pandemic. And I tell them, of course! Of course I am!” says María. She sells her face masks in San Francisco’s Mission District, near 23rd Street.\u003c/p>\n\u003cp>María is retired and has lived in San Francisco since she arrived from El Salvador 35 years ago. Selling masks helps her cover some expenses, but she started selling so she could have a reason to leave the house, at least on the weekends. “I started to do this because I could no longer stay inside my house everyday. Being alone in the house for five months is so boring. So I wanted to move around, figure out something that would keep me sane,” she says.\u003c/p>\n\u003cp>An experienced street seller, María has sold all kinds of things. Clothing, imitation jewelry, accessories. “But never face masks. I had never even held one until this year,” she laughs. And now she’s honed her skills to find the most unique designs that catch a pedestrian’s eye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s one of her most popular masks? A face mask printed with the Salvadoran president Nayib Bukele, smiling at the camera. “So many people ask for him. People ask for masks with their teams’ logo, their favorite brands—they ask for every type of design! Every type of taste you can imagine!”\u003c/p>\n\u003cp>While she values the aesthetic value of each mask, María cares that each mask actually protects her customers. Sitting on a chair next to her stall, she sees countless used surgical face masks flying through the street. She controls her frustration when she sees someone without one.\u003c/p>\n\u003cp>“One day a man buys me a face mask. The next day, I see him crossing the street with no mask. We can’t force anyone to do anything,” she says. “We can only control what we ourselves do, and for me, that’s making sure people have access to masks they can reuse, that they feel safe with.”\u003c/p>\n\u003cfigure id=\"attachment_13890515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890515 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Mari%CC%81a-at-her-stall-800x602.jpg\" alt=\"\" width=\"800\" height=\"602\">\u003cfigcaption class=\"wp-caption-text\">María sees her face mask business as a way of keeping her community safe. The Mission district, where she’s based, has one of San Francisco’s highest COVID-19 rates. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The risk of working all day outside is very present in María’s mind. Everyday, she hears in the news how the Mission is one of the neighborhoods in San Francisco most affected by coronavirus. \u003ca href=\"https://data.sfgov.org/stories/s/Maps-of-COVID-19-Cases/adm5-wq8i/\" target=\"_blank\" rel=\"noopener noreferrer\">According to the city\u003c/a>, the current monthly case rate in the Mission is 89 cases per 10,000 people, one of the highest in San Francisco.\u003c/p>\n\u003cp>But she still decides to come out and sell face masks. “I protect myself,” she says. “And I help others protect themselves.”\u003c/p>\n\u003ch2>“You Don’t Let Doors Close on You”\u003c/h2>\n\u003cp>Throughout the Bay Area, dozens of individuals have set up informal stalls on the sidewalk, parking lots and swap meets to sell face masks, an indicator of indispensable and undeniable necessity during the pandemic. Many have little to no experience selling in the streets, but selling face masks has been the only opportunity available during one of the worst economic crises in recent history.\u003c/p>\n\u003cp>“You don’t let doors close on you. If you want to survive, you have to hustle,” says González, who sells masks on Alum Rock Avenue in East San José, and asked to go by only his last name. He worked as a gardener for 15 years before losing his job during the summer. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ever since I came to this country, I’ve reinvented myself many times. To survive. Not to save money, but to survive. And now, face masks help me survive in so many ways,” he says.\u003c/p>\n\u003cp>And while he does not count with a Nayib Bukele mask in his inventory, he still sells masks decorated with the face of another Latin American president, that of Andrés Manuel López Obrador, of México. Not the most popular design, he notes.\u003c/p>\n\u003cp>He takes great care in showing each mask, never removing them from the plastic wrapper. The masks up for display are not for sale. González explains that they’ve been out all day, exposed to all those that pass by. Whenever he sells, he never lets his guard down. The 95116 and 95112 zip codes that make up East San José registers the highest \u003ca href=\"https://www.sccgov.org/sites/covid19/Pages/dashboard-cases-by-zip-code-and-city.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">case rates\u003c/a> in all of Santa Clara County.\u003c/p>\n\u003cfigure id=\"attachment_13890516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Gonza%CC%81lez-at-his-booth-with-Lo%CC%81pez-Obrador-mask-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-2048x1537.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/González-at-his-booth-with-López-Obrador-mask-1920x1441.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You don’t let doors close on you. If you want to survive, you have to hustle,” says San José face mask vendor González, who lost his job as a gardener during the pandemic. \u003ccite>(Carlos Cabrera-Lomelí)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over in Fruitvale, José Antonio shows the same resolve against similar odds. “I have a responsibility to my family,” he says. Fruitvale has also borne the brunt of the pandemic in Oakland.\u003c/p>\n\u003cp>One of the challenges health officials have faced in Fruitvale is making sure that COVID-19 prevention information reaches the Indigenous community, mostly composed of Mam-speaking immigrants from Guatemala. While public health information is available in both English and Spanish, there’s much less in Mam.\u003c/p>\n\u003cp>Some of the most popular designs at José Antonio’s stall are those embroidered with patterns popular in northern Guatemala, made by Indigenous artisans. “Having this design on is like wearing a small part of your tradition, but presented in a way where it now seems very normal,” he explains.\u003c/p>\n\u003cp>“Many of the people I know don’t want to be targeted when they show that they’re Indigenous,” he continues. “But when they wear a mask with these designs, no one points them out.”\u003c/p>\n\u003ch2>What Your Mask Says\u003c/h2>\n\u003cp>While some mask designs, like those emblazoned with sports teams logos, can be found in every street stand, it’s the handmade masks bearing embroidery crafted by Indigenous artisans that differ from stall to stall, from city to city. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Folks come and feel the texture that is handmade. It’s so different from what exists in stores, all that factory-made stuff,” says César Augusto, whose stand is located on Mission and 23rd in San Francisco. Earlier this year, he was forced to close his store on 24th Street, where he sold craftwork by Indigenous artisans from all over the Americas for 17 years. He and his wife transformed their business into two booths, each full with artwork, earrings, and clothing.\u003c/p>\n\u003cp>“In a way, it was a good thing that we closed. It came at the right time. And now, I can breathe a little easier because I can start again, opening a new path for my wife and I,” he explains. Augusto migrated to the U.S. from Ecuador, where he was raised by a family of artisans. Holding a face mask his family sent him, he ponders on the value this piece of fabric has in his life now.\u003c/p>\n\u003cp>“They’ve become their own type of craftwork. I never imagined this would happen,” he says. The mask he’s wearing also comes from Ecuador, embroidered with Quechua patterns. A customer passes by and asks if he’s got any masks printed with the flag of Honduras. Turns out that they just ran out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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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": {
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"source": "WaitWhat"
},
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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