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"content": "\u003cp>Living through the year 2020 tested us. It tried our patience and nerves. It challenged us to find new ways to communicate and socialize. It upended our priorities, pushed our resolve and—let’s be real—stressed us the eff out, daily.\u003c/p>\n\u003cp>So when we asked you, our readers, what helped you get through it all, we were surprised by the outpouring of optimism, creativity and expressions of gratitude we received.\u003c/p>\n\u003cp>Here are just some of the things that got you through this endurance test of a year.\u003c/p>\n\u003ch2>Virtual Community\u003c/h2>\n\u003cfigure id=\"attachment_13890230\" class=\"wp-caption aligncenter\" style=\"max-width: 764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png\" alt=\"Some of the magical animals of ‘In Shelter Zoo'—a project and website created by Michelle L. Morby this year, to battle the isolation of shelter in place.\" width=\"764\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM-160x102.png 160w\" sizes=\"(max-width: 764px) 100vw, 764px\">\u003cfigcaption class=\"wp-caption-text\">Some of the magical animals of ‘In Shelter Zoo’—a project and website created by Michelle L. Morby this year to battle the isolation of shelter in place. \u003ccite>(InShelterZoo.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I created a global interactive project called \u003ca href=\"https://www.inshelterzoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Shelter Zoo\u003c/em>\u003c/a> to combat isolation. All one had to do was make an animal mask out of whatever you had on hand, take a selfie and send it, and I would add it to my conceptual art zoo.” —\u003cem>Michelle L. Morby, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Sending postcards to strangers around the world.” —\u003cem>Julian Roque, Hayward\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Learning Zumba taught by a Canadian-born feminist anthropologist who is a professor at Amherst College. The classes are attended by feminist academics and artists from around the world. It’s life-affirming and shame-free with fab playlists!” —\u003cem>Jennifer Terry, Sea Ranch\u003c/em>\u003c/p>\n\u003cp>“Virtual wine tastings.” —\u003cem>Janine P., San Francisco\u003c/em>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.instagram.com/defectedrecords/\" target=\"_blank\" rel=\"noopener noreferrer\">Defected Records\u003c/a>‘ virtual dance festivals 100% have given me joy, hope, strength, community, presence, and serenity.” —\u003cem>Ruanna Rae, Bay Area\u003c/em>\u003c/p>\n\u003ch2>The Great Outdoors\u003c/h2>\n\u003cfigure id=\"attachment_13890280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg\" alt=\"Jan Richardson's dog\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiking the hills with a dog: what could be better? \u003ccite>(Jan Richardson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Faith that the next day would get better. The comfort of my dog and hiking the beautiful hills of the Bay Area.” —\u003cem>Jan Richardson, Danville\u003c/em>\u003c/p>\n\u003cp>“To combat pandemic-related anger, I’ve been taking evening dips in the bay from East Beach at Crissy Field. In up to my chest just a few yards offshore, within a few minutes I feel rejuvenated by the literal shift in perspective and cold shock.” —\u003cem>Britta Shoot, San Francisco\u003c/em>\u003c/p>\n\u003cp>“I have ongoing, non-COVID health problems that keep me close to home. So my photography hobby has been a key ingredient in keeping things together. That and our backyard, with its birds and flowers. I’ve documented the backyard thoroughly!” —\u003cem>David Evan Hughes, Lincoln\u003c/em>\u003c/p>\n\u003cp>“Rowing in the San Francisco bay.” —\u003cem>Demian Quesnel, San Francisco\u003c/em>\u003c/p>\n\u003cp>“My bike, my engineer, my financial guy, my lawyer, and my priest. We ride bikes together. Sometimes 22 miles, sometimes 52 miles, even 102.” —\u003cem>Peter Wise, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Since gyms got shut down, I started doing ’80s aerobics interspersed with weight and dance routines on our deck overlooking Linda Mar Beach. With headphones, no one can hear my music, but they can see me getting down!” —\u003cem>Nancy Capone Beeman, Pacifica\u003c/em>\u003c/p>\n\u003ch2>Artistic Expression\u003c/h2>\n\u003cfigure id=\"attachment_13890252\" class=\"wp-caption aligncenter\" style=\"max-width: 662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png\" alt=\"A selection of work from Meredith Steele's 100 paintings of Oakland.\" width=\"662\" height=\"659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png 662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM-160x159.png 160w\" sizes=\"(max-width: 662px) 100vw, 662px\">\u003cfigcaption class=\"wp-caption-text\">A selection of work from Meredith Steele’s 100 paintings of Oakland. \u003ccite>(Instagram/@meredith_steele_)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Taking on a project of painting \u003ca href=\"http://www.meredithsteele.com/oaklandpaintings\" target=\"_blank\" rel=\"noopener noreferrer\">100 paintings of Oakland\u003c/a>. It kept me focused!” —\u003cem>Meredith Steele, Oakland\u003c/em>\u003c/p>\n\u003cp>“Making art, even when it hurt.” —\u003cem>Katy Kuhn, Mill Valley\u003c/em>\u003c/p>\n\u003cp>“Stuck in lockdown, bored to tears, I decided to dress up my front yard. The circle drive is bordered by two short grape-stake fences. So I pulled out my paint pots and got to work. I painted each fence to look like a row of colored pencils.” —\u003cem>Judith Morley, Menlo Park\u003c/em>\u003c/p>\n\u003cp>“My mate and I learned a modern take on an very old art form: beading. I suggested it to her as a more zenful way to unwind from her stressful job. She was sold after seeing the modern works of people like Jan Huling, Betsy Youngquist and Nancy Joseph.” —\u003cem>Ann Morgan, Oakland\u003c/em>\u003c/p>\n\u003cp>“I set out to photograph every mural on a boarded up business that I could. Inspired me, gave me hope, cleared my head and helped keep me grounded and sane. \u003ca href=\"https://www.instagram.com/plywoodmurals/\" target=\"_blank\" rel=\"noopener noreferrer\">Check them out\u003c/a>!” —\u003cem>Hildur Carlen, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Walking the streets of Oakland with my young son, taking in all the urban visual information, which led to five new artwork series. So far I’ve posted 45 of these works on paper on \u003ca href=\"https://ivettevallejo.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">my website\u003c/a>.” —\u003cem>Ivette, Vallejo\u003c/em>\u003c/p>\n\u003ch2>Musical Exploration\u003c/h2>\n\u003cfigure id=\"attachment_13890281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg\" alt=\"Matthew Levitt's record collection\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When in doubt, buy more records. 😉 \u003ccite>(Matthew Levitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found a lot of comfort listening to my records. I bought some irresponsibly expensive headphones and practically doubled my record collection. I listen to a few albums almost every day.” —\u003cem>Matthew Levitt, Alameda\u003c/em>\u003c/p>\n\u003cp>“Listening to the radio! You can be part of a community, while in your home or car.” —\u003cem>Barrett Jayne, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“Learning how to play drums and starting a punk band.” —\u003cem>Meerenai Shim, Campbell\u003c/em>\u003c/p>\n\u003cp>“I started a new label with my best friend of 15 years and put out an album in April. I worked on three albums and one is coming out in January. I discovered I have Aspergers, smashed petty beefs, and worked on my house.” —\u003cem>Muslim Delgado, Oakland\u003c/em>\u003c/p>\n\u003cp>“I have survived this year by listening to a lot of calming music, taking daily brisk walks where there aren’t a lot of people, following the science around COVID, helping my candidates get elected, and texting a lot with friends and family.” —\u003cem>Carol Akawie Schneider, Oakland\u003c/em>\u003c/p>\n\u003ch2>Family Time\u003c/h2>\n\u003cfigure id=\"attachment_13890282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/kittens-800x600.jpeg\" alt=\"Kittens fresh from the good people at the Sonoma County Humane Society.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kittens fresh from the good people at the Sonoma County Humane Society. \u003ccite>(Meghan West)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Kittens! After miniaturizing our April wedding, then moving, my husband and I got two kittens from the local Humane Society. They are such a delight and make us smile so many times each day.” —\u003cem>Meghan West, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“The most important thing that got me through 2020 was being in a bubble with my daughter, her partner and my three grandkids. Seeing them almost every day and sharing our ‘buds and thorns’ about our day kept me sane.” —\u003cem>Aggie Briscoe, Oakland\u003c/em>\u003c/p>\n\u003cp>“I recorded E.B. White books for my grandson. With the uncertainty of each day, it was sweet to enter White’s gentle world of curious and collaborating animals, and share it with a special child.” —\u003cem>Susan Giacomini Allan, Inverness\u003c/em>\u003c/p>\n\u003cp>“Daily walks with my dogs, and my husband’s cooking.” —\u003cem>Barbara Thomson, Nicasio\u003c/em>\u003c/p>\n\u003cp>“My neighbors and my daughter in SF. They did my grocery shopping and errands to keep my exposure (at age 90) to COVID-19 to a minimum. Good folks!” —\u003cem>Alison C. Fuller, San Rafael\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“What got me through 2020 so far is our grandson who lives in London and was only four months old when COVID got worse. Our daughter continuously sent us photos, videos and we Facetimed at least 4-5 times a week. Watching him grow kept us going.” —\u003cem>Neelima Pandit, Santa Rosa\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Living through the year 2020 tested us. It tried our patience and nerves. It challenged us to find new ways to communicate and socialize. It upended our priorities, pushed our resolve and—let’s be real—stressed us the eff out, daily.\u003c/p>\n\u003cp>So when we asked you, our readers, what helped you get through it all, we were surprised by the outpouring of optimism, creativity and expressions of gratitude we received.\u003c/p>\n\u003cp>Here are just some of the things that got you through this endurance test of a year.\u003c/p>\n\u003ch2>Virtual Community\u003c/h2>\n\u003cfigure id=\"attachment_13890230\" class=\"wp-caption aligncenter\" style=\"max-width: 764px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890230\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png\" alt=\"Some of the magical animals of ‘In Shelter Zoo'—a project and website created by Michelle L. Morby this year, to battle the isolation of shelter in place.\" width=\"764\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM.png 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-2.40.22-PM-160x102.png 160w\" sizes=\"(max-width: 764px) 100vw, 764px\">\u003cfigcaption class=\"wp-caption-text\">Some of the magical animals of ‘In Shelter Zoo’—a project and website created by Michelle L. Morby this year to battle the isolation of shelter in place. \u003ccite>(InShelterZoo.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I created a global interactive project called \u003ca href=\"https://www.inshelterzoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Shelter Zoo\u003c/em>\u003c/a> to combat isolation. All one had to do was make an animal mask out of whatever you had on hand, take a selfie and send it, and I would add it to my conceptual art zoo.” —\u003cem>Michelle L. Morby, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Sending postcards to strangers around the world.” —\u003cem>Julian Roque, Hayward\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Learning Zumba taught by a Canadian-born feminist anthropologist who is a professor at Amherst College. The classes are attended by feminist academics and artists from around the world. It’s life-affirming and shame-free with fab playlists!” —\u003cem>Jennifer Terry, Sea Ranch\u003c/em>\u003c/p>\n\u003cp>“Virtual wine tastings.” —\u003cem>Janine P., San Francisco\u003c/em>\u003c/p>\n\u003cp>“\u003ca href=\"https://www.instagram.com/defectedrecords/\" target=\"_blank\" rel=\"noopener noreferrer\">Defected Records\u003c/a>‘ virtual dance festivals 100% have given me joy, hope, strength, community, presence, and serenity.” —\u003cem>Ruanna Rae, Bay Area\u003c/em>\u003c/p>\n\u003ch2>The Great Outdoors\u003c/h2>\n\u003cfigure id=\"attachment_13890280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg\" alt=\"Jan Richardson's dog\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Jan-Richardson-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiking the hills with a dog: what could be better? \u003ccite>(Jan Richardson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Faith that the next day would get better. The comfort of my dog and hiking the beautiful hills of the Bay Area.” —\u003cem>Jan Richardson, Danville\u003c/em>\u003c/p>\n\u003cp>“To combat pandemic-related anger, I’ve been taking evening dips in the bay from East Beach at Crissy Field. In up to my chest just a few yards offshore, within a few minutes I feel rejuvenated by the literal shift in perspective and cold shock.” —\u003cem>Britta Shoot, San Francisco\u003c/em>\u003c/p>\n\u003cp>“I have ongoing, non-COVID health problems that keep me close to home. So my photography hobby has been a key ingredient in keeping things together. That and our backyard, with its birds and flowers. I’ve documented the backyard thoroughly!” —\u003cem>David Evan Hughes, Lincoln\u003c/em>\u003c/p>\n\u003cp>“Rowing in the San Francisco bay.” —\u003cem>Demian Quesnel, San Francisco\u003c/em>\u003c/p>\n\u003cp>“My bike, my engineer, my financial guy, my lawyer, and my priest. We ride bikes together. Sometimes 22 miles, sometimes 52 miles, even 102.” —\u003cem>Peter Wise, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Since gyms got shut down, I started doing ’80s aerobics interspersed with weight and dance routines on our deck overlooking Linda Mar Beach. With headphones, no one can hear my music, but they can see me getting down!” —\u003cem>Nancy Capone Beeman, Pacifica\u003c/em>\u003c/p>\n\u003ch2>Artistic Expression\u003c/h2>\n\u003cfigure id=\"attachment_13890252\" class=\"wp-caption aligncenter\" style=\"max-width: 662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png\" alt=\"A selection of work from Meredith Steele's 100 paintings of Oakland.\" width=\"662\" height=\"659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM.png 662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-10-at-4.10.38-PM-160x159.png 160w\" sizes=\"(max-width: 662px) 100vw, 662px\">\u003cfigcaption class=\"wp-caption-text\">A selection of work from Meredith Steele’s 100 paintings of Oakland. \u003ccite>(Instagram/@meredith_steele_)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Taking on a project of painting \u003ca href=\"http://www.meredithsteele.com/oaklandpaintings\" target=\"_blank\" rel=\"noopener noreferrer\">100 paintings of Oakland\u003c/a>. It kept me focused!” —\u003cem>Meredith Steele, Oakland\u003c/em>\u003c/p>\n\u003cp>“Making art, even when it hurt.” —\u003cem>Katy Kuhn, Mill Valley\u003c/em>\u003c/p>\n\u003cp>“Stuck in lockdown, bored to tears, I decided to dress up my front yard. The circle drive is bordered by two short grape-stake fences. So I pulled out my paint pots and got to work. I painted each fence to look like a row of colored pencils.” —\u003cem>Judith Morley, Menlo Park\u003c/em>\u003c/p>\n\u003cp>“My mate and I learned a modern take on an very old art form: beading. I suggested it to her as a more zenful way to unwind from her stressful job. She was sold after seeing the modern works of people like Jan Huling, Betsy Youngquist and Nancy Joseph.” —\u003cem>Ann Morgan, Oakland\u003c/em>\u003c/p>\n\u003cp>“I set out to photograph every mural on a boarded up business that I could. Inspired me, gave me hope, cleared my head and helped keep me grounded and sane. \u003ca href=\"https://www.instagram.com/plywoodmurals/\" target=\"_blank\" rel=\"noopener noreferrer\">Check them out\u003c/a>!” —\u003cem>Hildur Carlen, San Francisco\u003c/em>\u003c/p>\n\u003cp>“Walking the streets of Oakland with my young son, taking in all the urban visual information, which led to five new artwork series. So far I’ve posted 45 of these works on paper on \u003ca href=\"https://ivettevallejo.com/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">my website\u003c/a>.” —\u003cem>Ivette, Vallejo\u003c/em>\u003c/p>\n\u003ch2>Musical Exploration\u003c/h2>\n\u003cfigure id=\"attachment_13890281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg\" alt=\"Matthew Levitt's record collection\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Matthew-Levitt-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When in doubt, buy more records. 😉 \u003ccite>(Matthew Levitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I found a lot of comfort listening to my records. I bought some irresponsibly expensive headphones and practically doubled my record collection. I listen to a few albums almost every day.” —\u003cem>Matthew Levitt, Alameda\u003c/em>\u003c/p>\n\u003cp>“Listening to the radio! You can be part of a community, while in your home or car.” —\u003cem>Barrett Jayne, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“Learning how to play drums and starting a punk band.” —\u003cem>Meerenai Shim, Campbell\u003c/em>\u003c/p>\n\u003cp>“I started a new label with my best friend of 15 years and put out an album in April. I worked on three albums and one is coming out in January. I discovered I have Aspergers, smashed petty beefs, and worked on my house.” —\u003cem>Muslim Delgado, Oakland\u003c/em>\u003c/p>\n\u003cp>“I have survived this year by listening to a lot of calming music, taking daily brisk walks where there aren’t a lot of people, following the science around COVID, helping my candidates get elected, and texting a lot with friends and family.” —\u003cem>Carol Akawie Schneider, Oakland\u003c/em>\u003c/p>\n\u003ch2>Family Time\u003c/h2>\n\u003cfigure id=\"attachment_13890282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890282\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/kittens-800x600.jpeg\" alt=\"Kittens fresh from the good people at the Sonoma County Humane Society.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/kittens-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kittens fresh from the good people at the Sonoma County Humane Society. \u003ccite>(Meghan West)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Kittens! After miniaturizing our April wedding, then moving, my husband and I got two kittens from the local Humane Society. They are such a delight and make us smile so many times each day.” —\u003cem>Meghan West, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>“The most important thing that got me through 2020 was being in a bubble with my daughter, her partner and my three grandkids. Seeing them almost every day and sharing our ‘buds and thorns’ about our day kept me sane.” —\u003cem>Aggie Briscoe, Oakland\u003c/em>\u003c/p>\n\u003cp>“I recorded E.B. White books for my grandson. With the uncertainty of each day, it was sweet to enter White’s gentle world of curious and collaborating animals, and share it with a special child.” —\u003cem>Susan Giacomini Allan, Inverness\u003c/em>\u003c/p>\n\u003cp>“Daily walks with my dogs, and my husband’s cooking.” —\u003cem>Barbara Thomson, Nicasio\u003c/em>\u003c/p>\n\u003cp>“My neighbors and my daughter in SF. They did my grocery shopping and errands to keep my exposure (at age 90) to COVID-19 to a minimum. Good folks!” —\u003cem>Alison C. Fuller, San Rafael\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What got me through 2020 so far is our grandson who lives in London and was only four months old when COVID got worse. Our daughter continuously sent us photos, videos and we Facetimed at least 4-5 times a week. Watching him grow kept us going.” —\u003cem>Neelima Pandit, Santa Rosa\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help",
"headTitle": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED",
"content": "\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \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\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>[pullquote size='large']Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.[/pullquote]\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \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\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. [aside postid='arts_13890048']\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n",
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"excerpt": "Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ",
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"description": "Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ",
"title": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \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\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \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\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pressure to Attend Thanksgiving? Send Your Family This Rachel Maddow Clip",
"headTitle": "Pressure to Attend Thanksgiving? Send Your Family This Rachel Maddow Clip | KQED",
"content": "\u003cp>Thanksgiving is rapidly approaching. And, this year, despite 253,000 dead Americans, clear \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/holidays/thanksgiving.html\" target=\"_blank\" rel=\"noopener noreferrer\">warnings from the CDC\u003c/a>, and more than a \u003ca href=\"https://www.nytimes.com/interactive/2020/us/coronavirus-us-cases.html\" target=\"_blank\" rel=\"noopener noreferrer\">million new U.S. coronavirus cases\u003c/a> a week, many of us are still fielding Thanksgiving invitations. Or, rather, trying to fend them off.\u003c/p>\n\u003cp>Saying no to spending holidays with family is tough on any normal year. But for those of us facing down multiple relatives who \u003cem>are\u003c/em> willing to travel, \u003cem>are\u003c/em> willing to break household pods and \u003cem>are\u003c/em> willing to eat maskless around a table without quarantining first, being the only one to say “no” can invite a lot of judgment and gaslighting.\u003c/p>\n\u003cp>Enter Rachel Maddow.\u003c/p>\n\u003cp>Last night, the MSNBC anchor shared an anecdote that should be enough to turn anyone off from travel and socializing for the forseeable future.\u003c/p>\n\u003cp>Broadcasting from home, Maddow shared the information that, two weeks ago, her partner of 21 years, Susan Mikula, tested positive for COVID-19. Maddow described nights spent awake, calling doctors over and over, and fighting to keep Mikula breathing. She described trying to care for the love of her life without physically being in the same room. Based on her delivery, the experience has left Maddow rattled and reevaluating priorities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Believe me, whatever you have calculated into your life as acceptable risk, inevitable risk, something that you’re willing to go through because, statistically, hey, it probably will be fine, I’m just here to tell you to recalibrate that,” she warned. “Frankly, the country needs you to recalibrate that because there’s no room for you in the hospital anymore.”\u003c/p>\n\u003cp>Maddow expressed some understanding for those who take risks with their own welfare in order to snatch a tiny slice of normal life back. But she also explained that, unfortunately, that’s not how coronavirus works. “I’m guessing that you might be willing to risk yourself. Especially after all these months and all this time. It’s so frustrating, right?” she said. “You don’t get to just say, ‘I’m willing to get this thing and play the odds.’ You don’t get that choice. It won’t necessarily be you. It’ll be the person you most care about in the world. How can you bear that?”\u003c/p>\n\u003cp>Maddow’s monologue is an important and timely reminder about why we all retreated into social pods back in March—and why we should still be staying in them. “All you can do is move heaven and Earth to not get it and not transmit it,” Maddow concluded. “This thing is scary as hell. Whatever you have been doing to risk getting it, don’t.”\u003c/p>\n\u003cp>You—and the relatives you think need to hear it—can listen to Maddow and Mikula’s story in full below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/MaddowBlog/status/1329613581621612551\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanksgiving is rapidly approaching. And, this year, despite 253,000 dead Americans, clear \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/daily-life-coping/holidays/thanksgiving.html\" target=\"_blank\" rel=\"noopener noreferrer\">warnings from the CDC\u003c/a>, and more than a \u003ca href=\"https://www.nytimes.com/interactive/2020/us/coronavirus-us-cases.html\" target=\"_blank\" rel=\"noopener noreferrer\">million new U.S. coronavirus cases\u003c/a> a week, many of us are still fielding Thanksgiving invitations. Or, rather, trying to fend them off.\u003c/p>\n\u003cp>Saying no to spending holidays with family is tough on any normal year. But for those of us facing down multiple relatives who \u003cem>are\u003c/em> willing to travel, \u003cem>are\u003c/em> willing to break household pods and \u003cem>are\u003c/em> willing to eat maskless around a table without quarantining first, being the only one to say “no” can invite a lot of judgment and gaslighting.\u003c/p>\n\u003cp>Enter Rachel Maddow.\u003c/p>\n\u003cp>Last night, the MSNBC anchor shared an anecdote that should be enough to turn anyone off from travel and socializing for the forseeable future.\u003c/p>\n\u003cp>Broadcasting from home, Maddow shared the information that, two weeks ago, her partner of 21 years, Susan Mikula, tested positive for COVID-19. Maddow described nights spent awake, calling doctors over and over, and fighting to keep Mikula breathing. She described trying to care for the love of her life without physically being in the same room. Based on her delivery, the experience has left Maddow rattled and reevaluating priorities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the spirit of the New Deal, which hired artists for public works projects during the Great Depression, San Francisco Mayor London Breed \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" rel=\"noopener noreferrer\" target=\"_blank\">announced a new program\u003c/a> that will employ artists to amplify crucial public health reminders this holiday season.\u003c/p>\n\u003cp>With COVID-19 rates up city- and statewide, San Francisco will deploy 30 actors, musicians, dancers and other performing artists as Community Health Ambassadors to promote pandemic safety practices. An additional 30 visual artists will be hired to paint temporary public health-themed murals on boarded-up storefronts.\u003c/p>\n\u003cp>“This new program supports artists financially while also reminding community members to stay safe this holiday season,” Mayor Breed said in a statement. “San Francisco’s artists and cultural organizations are what make our city such a vibrant place, and we need to do all we can to support them. The Creative Corps is an innovate approach to help our artists during this difficult time, and will bring some joy and fun to public spaces throughout the City.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Corps\u003c/a> project has a budget of $250,000 from the Office of Economic and Workforce Development. Local organizations Yerba Buena Center for the Arts (YBCA) and Paint the Void will administer the program, and YBCA will collaborate with San Francisco Bay Area Theater Company, Dance Mission and SF Carnaval to select performing artists.\u003c/p>\n\u003cp>YBCA plans to train the Ambassadors to ensure messaging is accurate and consistent. But the artists will have flexibility in how they deliver public health reminders through their chosen form of expression in public places such as Shared Spaces corridors, streets with outdoor restaurants, parks, and other areas with high foot traffic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As far as murals go, Paint the Void will prioritize artists with strong ties to their chosen neighborhoods. An \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfNEz4Pou6bl25rmcLamo_UwKUbGj3vLvtGaVERsAPIE9gMqQ/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> for visual artists is now live.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the spirit of the New Deal, which hired artists for public works projects during the Great Depression, San Francisco Mayor London Breed \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" rel=\"noopener noreferrer\" target=\"_blank\">announced a new program\u003c/a> that will employ artists to amplify crucial public health reminders this holiday season.\u003c/p>\n\u003cp>With COVID-19 rates up city- and statewide, San Francisco will deploy 30 actors, musicians, dancers and other performing artists as Community Health Ambassadors to promote pandemic safety practices. An additional 30 visual artists will be hired to paint temporary public health-themed murals on boarded-up storefronts.\u003c/p>\n\u003cp>“This new program supports artists financially while also reminding community members to stay safe this holiday season,” Mayor Breed said in a statement. “San Francisco’s artists and cultural organizations are what make our city such a vibrant place, and we need to do all we can to support them. The Creative Corps is an innovate approach to help our artists during this difficult time, and will bring some joy and fun to public spaces throughout the City.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-san-francisco-creative-corps-support-artists-and-promote-public\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Corps\u003c/a> project has a budget of $250,000 from the Office of Economic and Workforce Development. Local organizations Yerba Buena Center for the Arts (YBCA) and Paint the Void will administer the program, and YBCA will collaborate with San Francisco Bay Area Theater Company, Dance Mission and SF Carnaval to select performing artists.\u003c/p>\n\u003cp>YBCA plans to train the Ambassadors to ensure messaging is accurate and consistent. But the artists will have flexibility in how they deliver public health reminders through their chosen form of expression in public places such as Shared Spaces corridors, streets with outdoor restaurants, parks, and other areas with high foot traffic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In 2020, Neo-Nazis and Serial Killers Have No Place in a Newspaper's Obituary Section",
"headTitle": "In 2020, Neo-Nazis and Serial Killers Have No Place in a Newspaper’s Obituary Section | KQED",
"content": "\u003cp>[dropcap]O[/dropcap]n Thursday, Nov. 12, the obituary section of \u003cem>The New York Times \u003c/em>gave prominent space to \u003ca href=\"https://www.nytimes.com/2020/11/12/us/tom-metzger-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Metzger\u003c/a>, a neo-Nazi and the founder of the California Knights of the Ku Klux Klan. Above the 1,000 word obituary, Metzger was presented in a black and white photo from 1980, sitting behind a desk, quietly examining paperwork. It was an image so unremarkable it took me a full minute to notice the shotgun propped up on the California flag behind him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\"> The very next day, \u003cem>The Guardian\u003c/em> granted serial killer Peter Sutcliffe—who mutilated and murdered at least 13 women and girls (police suspect the number is higher)—\u003ca href=\"https://www.theguardian.com/uk-news/2020/nov/13/peter-sutcliffe-obituary\" target=\"_blank\" rel=\"noopener noreferrer\">a lengthy obituary\u003c/a>. At 1,150 words, it was accompanied by a large black and white photo of Sutcliffe wearing a suit. (This photo choice at least had the decency to involve the back of a police van.)\u003c/p>\n\u003cp>There’s no doubt that the deaths of both of these men warranted news reports. And outlets like Sky News (which presented Sutcliffe’s death through a lens that focused on his \u003ca href=\"https://news.sky.com/story/yorkshire-ripper-serial-killer-peter-sutcliffe-has-died-12131042\" target=\"_blank\" rel=\"noopener noreferrer\">victims first\u003c/a>) and \u003ca href=\"https://apnews.com/article/us-news-race-and-ethnicity-oregon-california-portland-423e3e8fff78b45a39a7353f1a6702df?utm_campaign=SocialFlow&utm_source=Twitter&utm_medium=AP\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a> (which took the time to name \u003ca href=\"https://en.wikipedia.org/wiki/Mulugeta_Seraw\" target=\"_blank\" rel=\"noopener noreferrer\">Mulugeta Seraw\u003c/a>, the Black man whose murder Metzger was found legally liable for) have proven such reports can give dignity to the victims of both.\u003c/p>\n\u003cp>By contrast, the format of the newspaper obituary focuses on the individual who has died. It’s that format that permitted \u003cem>The New York Times\u003c/em> to wait 20 paragraphs before mentioning Seraw by name. And it’s why \u003cem>The Guardian\u003c/em> named only two of Sutcliffe’s victims after three full paragraphs about his schooling, family background and love life.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he \u003cem>New York Times\u003c/em> has repeatedly gone out of its way to present its obituaries section as hallowed, noble ground. Two years ago, it created “\u003ca href=\"https://www.nytimes.com/interactive/2018/obituaries/overlooked.html?mtrref=www.google.com&assetType=REGIWALL\" target=\"_blank\" rel=\"noopener noreferrer\">Overlooked\u003c/a>,” a space in which the newspaper retroactively writes obituaries for significant figures that were deemed unworthy at the time of their deaths. “Since 1851,” the “Overlooked” homepage declares, “obituaries in \u003cem>The New York Times\u003c/em> have been dominated by white men. Now, we’re adding the stories of other remarkable people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Vanessa Gould’s 2016 documentary, \u003ca href=\"https://www.youtube.com/watch?v=RVafxOpEReM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Obit\u003c/em>\u003c/a>, the viewer is given a fly-on-the-wall look at the \u003cem>New York Times\u003c/em>‘ obituary team in action. The staff is seen wrestling with fact-checking, deadlines and the task of figuring out whose lives to immortalize in their pages. The editorial staffers talk often in the film about who is “worthy” of their posthumous limelight, and approach the task with an unerring sense of respect.\u003c/p>\n\u003cp>“I really admire the people I write about generally,” journalist Douglas Martin says at one point. “It becomes a little love affair in a sense and they’re important to you. And I think you bring that feeling, that warmth that you develop over time to all these people.” [aside postid='pop_20585']\u003c/p>\n\u003cp>Fellow writer Margalit Fox adds: “It’s almost never depressing because we’re almost always writing about someone… who has died after a long, rich, creative, fulfilling life.”\u003c/p>\n\u003cp>The documentary does make clear that the \u003cem>New York Times\u003c/em>‘ obituary subjects are not always chosen for being likable folks. “The one thing all the subjects have in common besides being dead,” reporter William Grimes says, “is that their lives had an impact of one sort or another. The word ‘impact’ is infinitely elastic. That impact can be of world-shaking importance.”\u003c/p>\n\u003cp>But there is a difference between writing an obituary for world leaders who committed heinous acts, and writing them for people who are unremarkable outside of their capacity to commit evil. Neither Sutcliffe nor Metzger were elected officials, or born into prominence, or people who achieved greatness. Neither would they inspire any moral philosophizing, like the “Would I have done it in the same circumstances?” discussion in \u003cem>Obit\u003c/em> about the \u003cem>New York Times\u003c/em> obituary for \u003ca href=\"https://www.nytimes.com/2007/11/01/obituaries/01cnd-tibbets.html\" target=\"_blank\" rel=\"noopener noreferrer\">the brigadier general who dropped the first atomic bomb\u003c/a>.\u003c/p>\n\u003cp>If anything, granting Sutcliffe and Metzger obituaries this lengthy, with photos, in prominent newspapers, gives them a legitimacy neither deserves. And while Sutcliffe is not the first serial killer to receive an obit in \u003cem>The Guardian—\u003c/em>\u003ca href=\"https://www.theguardian.com/news/2002/nov/16/guardianobituaries.ukcrime\" target=\"_blank\" rel=\"noopener noreferrer\">Myra Hindley\u003c/a> and \u003ca href=\"https://www.theguardian.com/uk-news/2017/may/15/ian-brady-obituary\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Brady\u003c/a> both got one (Brady’s at least bothered to include the names of his victims)—the newspaper should have grown past the point of doing so by now.\u003c/p>\n\u003cp>Best practices in journalism are fluid and ever-changing. For example, after Anderson Cooper announced his decision to stop\u003ca href=\"https://www.poynter.org/ethics-trust/2019/not-naming-mass-shooters-much-is-now-the-norm/\" target=\"_blank\" rel=\"noopener noreferrer\"> naming mass shooters\u003c/a> for fear of inspiring more, an increasing number of journalists followed suit. If you apply Cooper’s logic to print in 2020, at a time when America is visibly wrestling with racial justice issues, it’s baffling to consider why the \u003cem>New York Times\u003c/em> would grant a Klansman the column space it just did. [aside postid='arts_13879768']\u003c/p>\n\u003cp>Does anyone actually care that the Yorkshire Ripper was also “a keen reader [and] showed an interest in ceramics,” as reported in \u003cem>The Guardian\u003c/em>? Do we gain anything from hearing that Metzger learned electronics in the army, as detailed in \u003cem>The Times\u003c/em>? It’s doubtful. In 2020, if a newspaper obituary section is having a quiet week, wouldn’t it make more sense to honor some of the 1,500 \u003ca href=\"https://www.independent.co.uk/news/health/coronavirus-nhs-deaths-healthcare-workers-covid-care-doctors-nurses-a9665386.html\" target=\"_blank\" rel=\"noopener noreferrer\">British\u003c/a> and \u003ca href=\"https://khn.org/news/lost-on-the-frontline-health-care-worker-death-toll-covid19-coronavirus/\" target=\"_blank\" rel=\"noopener noreferrer\">American\u003c/a> healthcare workers that have died on the COVID-19 frontlines?\u003c/p>\n\u003cp>“The editors are besieged by people who don’t understand being a worthy person and a virtuous person does not make you a newsworthy person,” \u003cem>NYT\u003c/em> journalist William Grimes says in \u003cem>Obit\u003c/em>. “Often they’ll get a phone call from someone saying ‘My uncle subscribed to the \u003cem>New York Times\u003c/em> all his life and it was a religion for him. And it would just be so gratifying to the family if he could have an obituary.’ I’ll bet there’s 10 or 15 calls like that every day.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With the state of the world as it is, I for one would gladly read an obituary about a normal life well-lived over one about an evil doer. In the case of those who are newsworthy solely for deeds that have harmed others, a news report of their passing would surely suffice. Not only is the warmth and life detail inherent in obituary writing an ill fit for such people, it frequently is not something afforded to their victims.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n Thursday, Nov. 12, the obituary section of \u003cem>The New York Times \u003c/em>gave prominent space to \u003ca href=\"https://www.nytimes.com/2020/11/12/us/tom-metzger-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tom Metzger\u003c/a>, a neo-Nazi and the founder of the California Knights of the Ku Klux Klan. Above the 1,000 word obituary, Metzger was presented in a black and white photo from 1980, sitting behind a desk, quietly examining paperwork. It was an image so unremarkable it took me a full minute to notice the shotgun propped up on the California flag behind him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\"> The very next day, \u003cem>The Guardian\u003c/em> granted serial killer Peter Sutcliffe—who mutilated and murdered at least 13 women and girls (police suspect the number is higher)—\u003ca href=\"https://www.theguardian.com/uk-news/2020/nov/13/peter-sutcliffe-obituary\" target=\"_blank\" rel=\"noopener noreferrer\">a lengthy obituary\u003c/a>. At 1,150 words, it was accompanied by a large black and white photo of Sutcliffe wearing a suit. (This photo choice at least had the decency to involve the back of a police van.)\u003c/p>\n\u003cp>There’s no doubt that the deaths of both of these men warranted news reports. And outlets like Sky News (which presented Sutcliffe’s death through a lens that focused on his \u003ca href=\"https://news.sky.com/story/yorkshire-ripper-serial-killer-peter-sutcliffe-has-died-12131042\" target=\"_blank\" rel=\"noopener noreferrer\">victims first\u003c/a>) and \u003ca href=\"https://apnews.com/article/us-news-race-and-ethnicity-oregon-california-portland-423e3e8fff78b45a39a7353f1a6702df?utm_campaign=SocialFlow&utm_source=Twitter&utm_medium=AP\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a> (which took the time to name \u003ca href=\"https://en.wikipedia.org/wiki/Mulugeta_Seraw\" target=\"_blank\" rel=\"noopener noreferrer\">Mulugeta Seraw\u003c/a>, the Black man whose murder Metzger was found legally liable for) have proven such reports can give dignity to the victims of both.\u003c/p>\n\u003cp>By contrast, the format of the newspaper obituary focuses on the individual who has died. It’s that format that permitted \u003cem>The New York Times\u003c/em> to wait 20 paragraphs before mentioning Seraw by name. And it’s why \u003cem>The Guardian\u003c/em> named only two of Sutcliffe’s victims after three full paragraphs about his schooling, family background and love life.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he \u003cem>New York Times\u003c/em> has repeatedly gone out of its way to present its obituaries section as hallowed, noble ground. Two years ago, it created “\u003ca href=\"https://www.nytimes.com/interactive/2018/obituaries/overlooked.html?mtrref=www.google.com&assetType=REGIWALL\" target=\"_blank\" rel=\"noopener noreferrer\">Overlooked\u003c/a>,” a space in which the newspaper retroactively writes obituaries for significant figures that were deemed unworthy at the time of their deaths. “Since 1851,” the “Overlooked” homepage declares, “obituaries in \u003cem>The New York Times\u003c/em> have been dominated by white men. Now, we’re adding the stories of other remarkable people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Vanessa Gould’s 2016 documentary, \u003ca href=\"https://www.youtube.com/watch?v=RVafxOpEReM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Obit\u003c/em>\u003c/a>, the viewer is given a fly-on-the-wall look at the \u003cem>New York Times\u003c/em>‘ obituary team in action. The staff is seen wrestling with fact-checking, deadlines and the task of figuring out whose lives to immortalize in their pages. The editorial staffers talk often in the film about who is “worthy” of their posthumous limelight, and approach the task with an unerring sense of respect.\u003c/p>\n\u003cp>“I really admire the people I write about generally,” journalist Douglas Martin says at one point. “It becomes a little love affair in a sense and they’re important to you. And I think you bring that feeling, that warmth that you develop over time to all these people.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fellow writer Margalit Fox adds: “It’s almost never depressing because we’re almost always writing about someone… who has died after a long, rich, creative, fulfilling life.”\u003c/p>\n\u003cp>The documentary does make clear that the \u003cem>New York Times\u003c/em>‘ obituary subjects are not always chosen for being likable folks. “The one thing all the subjects have in common besides being dead,” reporter William Grimes says, “is that their lives had an impact of one sort or another. The word ‘impact’ is infinitely elastic. That impact can be of world-shaking importance.”\u003c/p>\n\u003cp>But there is a difference between writing an obituary for world leaders who committed heinous acts, and writing them for people who are unremarkable outside of their capacity to commit evil. Neither Sutcliffe nor Metzger were elected officials, or born into prominence, or people who achieved greatness. Neither would they inspire any moral philosophizing, like the “Would I have done it in the same circumstances?” discussion in \u003cem>Obit\u003c/em> about the \u003cem>New York Times\u003c/em> obituary for \u003ca href=\"https://www.nytimes.com/2007/11/01/obituaries/01cnd-tibbets.html\" target=\"_blank\" rel=\"noopener noreferrer\">the brigadier general who dropped the first atomic bomb\u003c/a>.\u003c/p>\n\u003cp>If anything, granting Sutcliffe and Metzger obituaries this lengthy, with photos, in prominent newspapers, gives them a legitimacy neither deserves. And while Sutcliffe is not the first serial killer to receive an obit in \u003cem>The Guardian—\u003c/em>\u003ca href=\"https://www.theguardian.com/news/2002/nov/16/guardianobituaries.ukcrime\" target=\"_blank\" rel=\"noopener noreferrer\">Myra Hindley\u003c/a> and \u003ca href=\"https://www.theguardian.com/uk-news/2017/may/15/ian-brady-obituary\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Brady\u003c/a> both got one (Brady’s at least bothered to include the names of his victims)—the newspaper should have grown past the point of doing so by now.\u003c/p>\n\u003cp>Best practices in journalism are fluid and ever-changing. For example, after Anderson Cooper announced his decision to stop\u003ca href=\"https://www.poynter.org/ethics-trust/2019/not-naming-mass-shooters-much-is-now-the-norm/\" target=\"_blank\" rel=\"noopener noreferrer\"> naming mass shooters\u003c/a> for fear of inspiring more, an increasing number of journalists followed suit. If you apply Cooper’s logic to print in 2020, at a time when America is visibly wrestling with racial justice issues, it’s baffling to consider why the \u003cem>New York Times\u003c/em> would grant a Klansman the column space it just did. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Does anyone actually care that the Yorkshire Ripper was also “a keen reader [and] showed an interest in ceramics,” as reported in \u003cem>The Guardian\u003c/em>? Do we gain anything from hearing that Metzger learned electronics in the army, as detailed in \u003cem>The Times\u003c/em>? It’s doubtful. In 2020, if a newspaper obituary section is having a quiet week, wouldn’t it make more sense to honor some of the 1,500 \u003ca href=\"https://www.independent.co.uk/news/health/coronavirus-nhs-deaths-healthcare-workers-covid-care-doctors-nurses-a9665386.html\" target=\"_blank\" rel=\"noopener noreferrer\">British\u003c/a> and \u003ca href=\"https://khn.org/news/lost-on-the-frontline-health-care-worker-death-toll-covid19-coronavirus/\" target=\"_blank\" rel=\"noopener noreferrer\">American\u003c/a> healthcare workers that have died on the COVID-19 frontlines?\u003c/p>\n\u003cp>“The editors are besieged by people who don’t understand being a worthy person and a virtuous person does not make you a newsworthy person,” \u003cem>NYT\u003c/em> journalist William Grimes says in \u003cem>Obit\u003c/em>. “Often they’ll get a phone call from someone saying ‘My uncle subscribed to the \u003cem>New York Times\u003c/em> all his life and it was a religion for him. And it would just be so gratifying to the family if he could have an obituary.’ I’ll bet there’s 10 or 15 calls like that every day.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With the state of the world as it is, I for one would gladly read an obituary about a normal life well-lived over one about an evil doer. In the case of those who are newsworthy solely for deeds that have harmed others, a news report of their passing would surely suffice. Not only is the warmth and life detail inherent in obituary writing an ill fit for such people, it frequently is not something afforded to their victims.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While streaming services often get flack for cutting artists out of the deal (ahem, \u003ca href=\"https://www.kqed.org/arts/13888879/a-pandemic-is-not-the-time-for-spotify-to-undercut-artist-pay\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify\u003c/a>), Oakland’s Bandcamp has been praised for its attempts to do right by musicians during the pandemic. On the first Friday of each month since April, the company has waived its fees so that 100% of music sales go to artists and independent labels. Now, as COVID-19 cases rise, cold weather sets in and IRL concerts remain a far-off possibility, Bandcamp has announced a new service on its platform for \u003ca href=\"https://daily.bandcamp.com/features/bandcamp-ticketed-livestream\" target=\"_blank\" rel=\"noopener noreferrer\">ticketed, livestreamed concerts\u003c/a>.\u003c/p>\n\u003cp>Monetizing livestreams has been difficult for artists during the pandemic. Oftentimes, they end up playing for tips that fall short, by far, of what they would have made on tour. And touring is independent musicians’ bread and butter.\u003c/p>\n\u003cp>Bandcamp Live has several benefits for artists: the livestream feature is built into its platform, so fans who buy music there can easily purchase tickets. During livestreams, artists can set up a “virtual merch table” that advertises their mp3s, cassettes, vinyl, T-shirts and whatever else they offer. And they have the option of engaging with fans in the chat. Bandcamp will eventually take a 10% convenience fee from ticket sales, but the company is waiving this charge until March 2021.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While streaming services often get flack for cutting artists out of the deal (ahem, \u003ca href=\"https://www.kqed.org/arts/13888879/a-pandemic-is-not-the-time-for-spotify-to-undercut-artist-pay\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify\u003c/a>), Oakland’s Bandcamp has been praised for its attempts to do right by musicians during the pandemic. On the first Friday of each month since April, the company has waived its fees so that 100% of music sales go to artists and independent labels. Now, as COVID-19 cases rise, cold weather sets in and IRL concerts remain a far-off possibility, Bandcamp has announced a new service on its platform for \u003ca href=\"https://daily.bandcamp.com/features/bandcamp-ticketed-livestream\" target=\"_blank\" rel=\"noopener noreferrer\">ticketed, livestreamed concerts\u003c/a>.\u003c/p>\n\u003cp>Monetizing livestreams has been difficult for artists during the pandemic. Oftentimes, they end up playing for tips that fall short, by far, of what they would have made on tour. And touring is independent musicians’ bread and butter.\u003c/p>\n\u003cp>Bandcamp Live has several benefits for artists: the livestream feature is built into its platform, so fans who buy music there can easily purchase tickets. During livestreams, artists can set up a “virtual merch table” that advertises their mp3s, cassettes, vinyl, T-shirts and whatever else they offer. And they have the option of engaging with fans in the chat. Bandcamp will eventually take a 10% convenience fee from ticket sales, but the company is waiving this charge until March 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Eric Warner Improved His Life—Then San Quentin's COVID-19 Outbreak Took It",
"headTitle": "Eric Warner Improved His Life—Then San Quentin’s COVID-19 Outbreak Took It | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Eric William Warner was a lot of things—a boxer, a barber and a Bible thumper—but nothing speaks to his character more than the fact that people knew him as a person who simply loved jumping rope, even though his left leg was amputated.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a youngster, he lived on the wild side. In his older years, he found comfort in routinely reading his scripture. And all throughout his life, he valued family. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On July 25, Eric died of complications related to COVID-19. He was 57 years old. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time of his passing, Eric was at California’s San Quentin State Prison, where he served 22 years of what initially was a life sentence. (After an appeal, it was reduced to 55 years to life.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s behind those walls that Eric forged friendships with people who spoke at his memorial service. Their testimonies gave his family full insight into the human being Eric evolved into—far from the young man he once was. Yet even with his growth, the system that aided his rehabilitation process ultimately failed him.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13889015\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IMG_2125.jpg\" alt=\"Friends and family gathered in honor of Eric William Warner at Candlestick Point in San Francisco. \" width=\"750\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2125.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2125-160x158.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Friends and family gathered in honor of Eric William Warner at Candlestick Point in San Francisco. \u003ccite>(Hank Warner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A rough beginning\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The second son of two Filipino immigrants, Eric was born in San Francisco and raised in the Excelsior District. Eric’s brother Hank, two years his senior, describes him as someone who had a rough childhood and grew into a bit of a thrill-seeker as a young adult.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1971, when\u003c/span>\u003ca href=\"https://www.nytimes.com/1971/09/14/archives/many-shun-buses-in-san-francisco-school-integration-program-begins.html\">\u003cspan style=\"font-weight: 400\"> the San Francisco School District started bussing students\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> across neighborhoods in an effort to integrate schools, Hank says Eric was picked on, bullied and robbed by the kids at \u003c/span>\u003cspan style=\"font-weight: 400\">Bret Harte Elementary School in\u003c/span>\u003cspan style=\"font-weight: 400\"> Bayview-Hunters Point. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eric’s demoralizing experience was coupled with his father’s absence. The boys’ dad worked on a cruise ship and would be gone for multiple weeks each month. That caused Eric to lash out, Hank recalls. Eric’s mom eventually took up a job at their school. Later, his father—who by then had retired—took up a gig as a crossing guard at the school as well. Hank says the neighborhood was so rough that his father once got robbed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Through his teenage years, Eric and his father butted heads, says Hank. Eric dropped out of Balboa High School in 1979, and cascaded into a lifestyle that brought about multiple run-ins with the law, landing him in detention centers, camps and juvenile hall. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">But aside from the trouble he was having, everyone loved my brother,” says Hank, noting that he saw his “nice personality” as separate from his other issues. “His trouble was, sort of, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">his own trouble\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">… He wasn’t a troublesome person in relationships.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hank says Eric was independent and adventurous, and it showed. He loved riding dirt bikes and motorcycles.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was always on the edge of thrill,” says Hank.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, Eric caught his first major offense—he served three years in prison after pleading guilty to kidnapping and robbery.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1992, Eric \u003c/span>\u003cspan style=\"font-weight: 400\">was in a vehicle collision that required his left leg to be amputated up to the knee. But that didn’t slow him down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time of his death, Eric was serving a sentence for a crime committed more than a decade after his first major offense. In 1999, he was charged with second-degree murder (the offense was later reclassified as voluntary manslaughter), as well as \u003c/span>\u003cspan style=\"font-weight: 400\">possession of a firearm as a felon. It stemmed from an incident where\u003c/span>\u003cspan style=\"font-weight: 400\"> Eric shot and killed a man over a $10 dispute, \u003c/span>\u003ca href=\"https://www.mercurynews.com/2020/07/27/death-row-inmate-three-others-die-amid-covid-19-outbreak-at-san-quentin-prison/\">\u003cspan style=\"font-weight: 400\">according to news reports\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hank says that at the time, Eric had fallen deep into a crack cocaine addiction. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">According to a \u003c/span>\u003ca href=\"https://www.leagle.com/decision/incaco20181220041\">\u003cspan style=\"font-weight: 400\">legal brief\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> from the case, Eric was sentenced under California’s \u003ca href=\"https://www.kqed.org/lowdown/4065/thinking-twice-about-californias-three-strikes-law\" target=\"_blank\" rel=\"noopener noreferrer\">former Three Strikes law\u003c/a> and given a sentence of 100 years to life. Of the two decades he served in California’s prisons, he spent 10 years at San Quentin.\u003c/span>\u003c/p>\n\u003ch2>Working hard to turn his life around\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">While in the facility, Eric took up the trade of dry cleaning. He got into ethnic studies and gave cultural presentations as a part of the Asian Prisoner Support Committee’s group, \u003c/span>\u003ca href=\"https://www.asianprisonersupport.com/programs-1\">\u003cspan style=\"font-weight: 400\">R.O.O.T.S (Restoring Our Original True Selves)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A former Golden Gloves boxer, Eric constantly trained. Despite his love of fighting, people who knew him while incarcerated say he was mild-mannered. One friend says the only time he saw him lose his cool was when his beloved San Francisco 49ers lost the Super Bowl. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eric was in love.\u003c/span>\u003ca href=\"https://www.youtube.com/watch?feature=youtu.be&v=ttDcatgnKKQ&app=desktop\">\u003cspan style=\"font-weight: 400\"> In a video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> filmed by \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13887701/whats-on-your-ballot-adnan-khan-prisoners-advocate\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">activist Adnan Khan\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Eric talks about how the death of his fiancée, Amanda Parrish, filled him with loneliness and despair. “It taught me insight about how I was living under my circumstances, and gave me the strength to live above my circumstances,” says Eric in the video, concluding that Amanda’s love gave him hope. The couple is survived by Amanda’s daughter, Shanti, whom Eric considered his stepdaughter. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/ttDcatgnKKQ\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eric took Christianity seriously; not just in study, but in practice as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His former cellmate, \u003c/span>\u003cspan style=\"font-weight: 400\">Chanton Bun, credits Eric with saving his life. “I got into a fight with my first celly,” says Bun. “And Eric said, ‘You’re not going to survive like that. You’re going to make matters worse.’”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bun says Eric asked him to look past the conflict and rationalize the situation. \u003c/span>\u003cspan style=\"font-weight: 400\">“You’re going to go to [the Parole] Board one day, so you don’t want anything else on your record,” Bun recalls Eric telling him. Reflecting on that interaction, Bun says, “He helped me start my journey to rehabilitation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then \u003c/span>\u003cspan style=\"font-weight: 400\">Eric invited Bun to take over an empty bunk in Eric’s cell, beginning a close friendship that would last the final two years of Eric’s life.\u003c/span>\u003cspan style=\"font-weight: 400\"> During that time, \u003c/span>\u003cspan style=\"font-weight: 400\">Bun took note of Eric’s discipline: how he read his Bible daily, stayed committed to working out and always managed to find time to assist others.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was a ‘legal beagle,’” says Bun, describing how Eric helped people research arguments to appeal their cases. “In the whole unit, if you didn’t understand what the court was telling you, you’d come to E, like, ‘I got this letter from the court,’ and he’d help you understand it.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13889014\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889014\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IMG_2132-800x600.jpg\" alt=\"A memorial for Eric William Warner at Lincoln Elementary School in Oakland. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial for Eric William Warner at Lincoln Elementary School in Oakland. \u003ccite>(Hank Warner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eric was also a barber, complete with a CDCR-issued station and clippers (no scissors). “People came to the cell for either legal work or a haircut, and he never turned anyone down,” says Bun.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While juggling all of these things, Eric still had his own struggles—mostly with finding a good fit for his prosthetic leg. Bun says he never complained about his disability, even when navigating the three-story stairway between his bunk and the prison yard. But Eric did make it a point to voice his frustrations to doctors, and ultimately tried to fix the prosthetic leg himself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bun says when news of COVID-19 hit, Eric was worried. “It’s going to hit me hard, but I’m going to survive it,” Bun recalls Eric telling him. Eric also told Bun that if he did die, “Sue the shit out of CDCR. They knew I was high-risk, but they didn’t check on me.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Bun found out Eric passed, Bun had been released for just under a month. He says he has survivor’s remorse. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first thing Bun thought was to have a memorial for Eric, and then he got overwhelmed. But with the support of others who knew him, they held two memorials—one in Oakland’s Lincoln Square Park and another at Candlestick Park in San Francisco, where the 49ers used to play.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was also \u003c/span>\u003ca href=\"https://www.gofundme.com/f/eric-william-warner-memorial-expense\">\u003cspan style=\"font-weight: 400\">a fundraiser\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">to help Eric’s family. It was \u003c/span>\u003cspan style=\"font-weight: 400\">set up by \u003c/span>\u003cspan style=\"font-weight: 400\">Danny Thongsy, another formerly incarcerated friend of Eric’s. They raised over $7,000 in his honor. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003ch2>No opportunity for a second chance\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until the memorial service, Hank, Eric’s older brother, says he didn’t fully understand Eric’s impact. He witnessed his growth and transition from afar. When Eric was first incarcerated, the two didn’t talk much. But as the years went by, the brothers had weekly conversations every Sunday for ten years.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time of Eric’s passing, Hank says his brother had progressed to a point that he was ready to come home; he often talked of traveling with his brother, niece and nephew. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I have two children, 22 and 18, and they never got to meet their uncle,” says Hank. He’s frustrated with the damage caused by the Three Strikes law and lengthy sentences, emphasizing the pain the prison system causes family members, not just the incarcerated person. [aside postid='arts_13883905']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The person that Eric came to be is someone I would’ve been proud to let my kids know is their uncle,” Hank says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hank feels that the story that should be told about Eric is how the Three Strikes law left him with an extensive sentence and no real chance at being released. “That’s really the foundation to the coronavirus problem—or the overcrowded prisons problem,” says Hank. “People like Eric are just getting piled upon in prisons.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hank says that leaves a lingering question to be asked. Namely, “What kind of society are we if we’re not rehabilitating those who need help, releasing them and making this a more productive society?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The answer lies in the fate of his brother, Eric William Warner: a person who worked hard to change, but was never released. \u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>If you are actively grieving and looking for support, \u003ca href=\"https://www.kqed.org/arts/13881725/where-to-find-affordable-culturally-competent-therapy-in-bay-area-and-beyond\">we have a guide to resources that offer help\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv id=\"my-embedded-typeform\" style=\"width: 100%; height: 600px;\">\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cscript src=\"https://embed.typeform.com/embed.js\" type=\"text/javascript\">\u003c/script>\u003cbr>\n\u003cscript type=\"text/javascript\">\n window.addEventListener(\"DOMContentLoaded\", function() {\n var el = document.getElementById(\"my-embedded-typeform\");\n window.typeformEmbed.makeWidget(el, \"https://artskqed.typeform.com/to/Nj9Dif13\", {\n hideFooter: true,\n hideHeaders: true,\n opacity: 0\n });\n });\n\u003c/script>\u003c/p>\n\n",
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"excerpt": "Remembering Eric Warner, a beloved friend, brother, legal advisor and barber. His family says the prison system failed him.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Eric William Warner was a lot of things—a boxer, a barber and a Bible thumper—but nothing speaks to his character more than the fact that people knew him as a person who simply loved jumping rope, even though his left leg was amputated.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As a youngster, he lived on the wild side. In his older years, he found comfort in routinely reading his scripture. And all throughout his life, he valued family. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On July 25, Eric died of complications related to COVID-19. He was 57 years old. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time of his passing, Eric was at California’s San Quentin State Prison, where he served 22 years of what initially was a life sentence. (After an appeal, it was reduced to 55 years to life.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s behind those walls that Eric forged friendships with people who spoke at his memorial service. Their testimonies gave his family full insight into the human being Eric evolved into—far from the young man he once was. Yet even with his growth, the system that aided his rehabilitation process ultimately failed him.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13889015\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IMG_2125.jpg\" alt=\"Friends and family gathered in honor of Eric William Warner at Candlestick Point in San Francisco. \" width=\"750\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2125.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2125-160x158.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Friends and family gathered in honor of Eric William Warner at Candlestick Point in San Francisco. \u003ccite>(Hank Warner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A rough beginning\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The second son of two Filipino immigrants, Eric was born in San Francisco and raised in the Excelsior District. Eric’s brother Hank, two years his senior, describes him as someone who had a rough childhood and grew into a bit of a thrill-seeker as a young adult.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1971, when\u003c/span>\u003ca href=\"https://www.nytimes.com/1971/09/14/archives/many-shun-buses-in-san-francisco-school-integration-program-begins.html\">\u003cspan style=\"font-weight: 400\"> the San Francisco School District started bussing students\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> across neighborhoods in an effort to integrate schools, Hank says Eric was picked on, bullied and robbed by the kids at \u003c/span>\u003cspan style=\"font-weight: 400\">Bret Harte Elementary School in\u003c/span>\u003cspan style=\"font-weight: 400\"> Bayview-Hunters Point. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eric’s demoralizing experience was coupled with his father’s absence. The boys’ dad worked on a cruise ship and would be gone for multiple weeks each month. That caused Eric to lash out, Hank recalls. Eric’s mom eventually took up a job at their school. Later, his father—who by then had retired—took up a gig as a crossing guard at the school as well. Hank says the neighborhood was so rough that his father once got robbed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Through his teenage years, Eric and his father butted heads, says Hank. Eric dropped out of Balboa High School in 1979, and cascaded into a lifestyle that brought about multiple run-ins with the law, landing him in detention centers, camps and juvenile hall. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">But aside from the trouble he was having, everyone loved my brother,” says Hank, noting that he saw his “nice personality” as separate from his other issues. “His trouble was, sort of, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">his own trouble\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">… He wasn’t a troublesome person in relationships.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hank says Eric was independent and adventurous, and it showed. He loved riding dirt bikes and motorcycles.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was always on the edge of thrill,” says Hank.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1986, Eric caught his first major offense—he served three years in prison after pleading guilty to kidnapping and robbery.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1992, Eric \u003c/span>\u003cspan style=\"font-weight: 400\">was in a vehicle collision that required his left leg to be amputated up to the knee. But that didn’t slow him down. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time of his death, Eric was serving a sentence for a crime committed more than a decade after his first major offense. In 1999, he was charged with second-degree murder (the offense was later reclassified as voluntary manslaughter), as well as \u003c/span>\u003cspan style=\"font-weight: 400\">possession of a firearm as a felon. It stemmed from an incident where\u003c/span>\u003cspan style=\"font-weight: 400\"> Eric shot and killed a man over a $10 dispute, \u003c/span>\u003ca href=\"https://www.mercurynews.com/2020/07/27/death-row-inmate-three-others-die-amid-covid-19-outbreak-at-san-quentin-prison/\">\u003cspan style=\"font-weight: 400\">according to news reports\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hank says that at the time, Eric had fallen deep into a crack cocaine addiction. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">According to a \u003c/span>\u003ca href=\"https://www.leagle.com/decision/incaco20181220041\">\u003cspan style=\"font-weight: 400\">legal brief\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> from the case, Eric was sentenced under California’s \u003ca href=\"https://www.kqed.org/lowdown/4065/thinking-twice-about-californias-three-strikes-law\" target=\"_blank\" rel=\"noopener noreferrer\">former Three Strikes law\u003c/a> and given a sentence of 100 years to life. Of the two decades he served in California’s prisons, he spent 10 years at San Quentin.\u003c/span>\u003c/p>\n\u003ch2>Working hard to turn his life around\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">While in the facility, Eric took up the trade of dry cleaning. He got into ethnic studies and gave cultural presentations as a part of the Asian Prisoner Support Committee’s group, \u003c/span>\u003ca href=\"https://www.asianprisonersupport.com/programs-1\">\u003cspan style=\"font-weight: 400\">R.O.O.T.S (Restoring Our Original True Selves)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A former Golden Gloves boxer, Eric constantly trained. Despite his love of fighting, people who knew him while incarcerated say he was mild-mannered. One friend says the only time he saw him lose his cool was when his beloved San Francisco 49ers lost the Super Bowl. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eric was in love.\u003c/span>\u003ca href=\"https://www.youtube.com/watch?feature=youtu.be&v=ttDcatgnKKQ&app=desktop\">\u003cspan style=\"font-weight: 400\"> In a video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> filmed by \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13887701/whats-on-your-ballot-adnan-khan-prisoners-advocate\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">activist Adnan Khan\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Eric talks about how the death of his fiancée, Amanda Parrish, filled him with loneliness and despair. “It taught me insight about how I was living under my circumstances, and gave me the strength to live above my circumstances,” says Eric in the video, concluding that Amanda’s love gave him hope. The couple is survived by Amanda’s daughter, Shanti, whom Eric considered his stepdaughter. \u003c/span>\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/ttDcatgnKKQ'\n title='//www.youtube.com/embed/ttDcatgnKKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Eric took Christianity seriously; not just in study, but in practice as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His former cellmate, \u003c/span>\u003cspan style=\"font-weight: 400\">Chanton Bun, credits Eric with saving his life. “I got into a fight with my first celly,” says Bun. “And Eric said, ‘You’re not going to survive like that. You’re going to make matters worse.’”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bun says Eric asked him to look past the conflict and rationalize the situation. \u003c/span>\u003cspan style=\"font-weight: 400\">“You’re going to go to [the Parole] Board one day, so you don’t want anything else on your record,” Bun recalls Eric telling him. Reflecting on that interaction, Bun says, “He helped me start my journey to rehabilitation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then \u003c/span>\u003cspan style=\"font-weight: 400\">Eric invited Bun to take over an empty bunk in Eric’s cell, beginning a close friendship that would last the final two years of Eric’s life.\u003c/span>\u003cspan style=\"font-weight: 400\"> During that time, \u003c/span>\u003cspan style=\"font-weight: 400\">Bun took note of Eric’s discipline: how he read his Bible daily, stayed committed to working out and always managed to find time to assist others.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was a ‘legal beagle,’” says Bun, describing how Eric helped people research arguments to appeal their cases. “In the whole unit, if you didn’t understand what the court was telling you, you’d come to E, like, ‘I got this letter from the court,’ and he’d help you understand it.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13889014\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889014\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IMG_2132-800x600.jpg\" alt=\"A memorial for Eric William Warner at Lincoln Elementary School in Oakland. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_2132-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial for Eric William Warner at Lincoln Elementary School in Oakland. \u003ccite>(Hank Warner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Eric was also a barber, complete with a CDCR-issued station and clippers (no scissors). “People came to the cell for either legal work or a haircut, and he never turned anyone down,” says Bun.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While juggling all of these things, Eric still had his own struggles—mostly with finding a good fit for his prosthetic leg. Bun says he never complained about his disability, even when navigating the three-story stairway between his bunk and the prison yard. But Eric did make it a point to voice his frustrations to doctors, and ultimately tried to fix the prosthetic leg himself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bun says when news of COVID-19 hit, Eric was worried. “It’s going to hit me hard, but I’m going to survive it,” Bun recalls Eric telling him. Eric also told Bun that if he did die, “Sue the shit out of CDCR. They knew I was high-risk, but they didn’t check on me.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When Bun found out Eric passed, Bun had been released for just under a month. He says he has survivor’s remorse. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The first thing Bun thought was to have a memorial for Eric, and then he got overwhelmed. But with the support of others who knew him, they held two memorials—one in Oakland’s Lincoln Square Park and another at Candlestick Park in San Francisco, where the 49ers used to play.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was also \u003c/span>\u003ca href=\"https://www.gofundme.com/f/eric-william-warner-memorial-expense\">\u003cspan style=\"font-weight: 400\">a fundraiser\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">to help Eric’s family. It was \u003c/span>\u003cspan style=\"font-weight: 400\">set up by \u003c/span>\u003cspan style=\"font-weight: 400\">Danny Thongsy, another formerly incarcerated friend of Eric’s. They raised over $7,000 in his honor. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003ch2>No opportunity for a second chance\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until the memorial service, Hank, Eric’s older brother, says he didn’t fully understand Eric’s impact. He witnessed his growth and transition from afar. When Eric was first incarcerated, the two didn’t talk much. But as the years went by, the brothers had weekly conversations every Sunday for ten years.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time of Eric’s passing, Hank says his brother had progressed to a point that he was ready to come home; he often talked of traveling with his brother, niece and nephew. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I have two children, 22 and 18, and they never got to meet their uncle,” says Hank. He’s frustrated with the damage caused by the Three Strikes law and lengthy sentences, emphasizing the pain the prison system causes family members, not just the incarcerated person. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The person that Eric came to be is someone I would’ve been proud to let my kids know is their uncle,” Hank says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hank feels that the story that should be told about Eric is how the Three Strikes law left him with an extensive sentence and no real chance at being released. “That’s really the foundation to the coronavirus problem—or the overcrowded prisons problem,” says Hank. “People like Eric are just getting piled upon in prisons.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hank says that leaves a lingering question to be asked. Namely, “What kind of society are we if we’re not rehabilitating those who need help, releasing them and making this a more productive society?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The answer lies in the fate of his brother, Eric William Warner: a person who worked hard to change, but was never released. \u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>If you are actively grieving and looking for support, \u003ca href=\"https://www.kqed.org/arts/13881725/where-to-find-affordable-culturally-competent-therapy-in-bay-area-and-beyond\">we have a guide to resources that offer help\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv id=\"my-embedded-typeform\" style=\"width: 100%; height: 600px;\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "This is What It’s Actually Like to See a Drive-In Concert in the Bay Area",
"headTitle": "This is What It’s Actually Like to See a Drive-In Concert in the Bay Area | KQED",
"content": "\u003cp>After months of sheltering in place, being outside and around people feels strange—even for \u003ca href=\"https://www.kqed.org/arts/13887674/drive-in-shows-with-thundercat-major-lazer-boost-bay-area-concert-scene\">Thundercat\u003c/a>, who played his first show since the COVID-19 shutdown at the \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayshore Drive-In\u003c/a> in Burlingame last night. “This has been a weird year,” he told the audience. “Anybody struggle through \u003ca href=\"https://www.kqed.org/science/1970641/watch-video-of-first-ever-climate-change-segment-in-a-presidential-debate\" target=\"_blank\" rel=\"noopener noreferrer\">the debate\u003c/a> before this to make it worse?”\u003c/p>\n\u003cp>“Well, we’ll be alright—or not,” he continued with an ambivalent laugh, basically personifying the \u003ca href=\"https://www.theverge.com/2016/5/5/11592622/this-is-fine-meme-comic\" target=\"_blank\" rel=\"noopener noreferrer\">“this is fine” meme\u003c/a>, before recommending that his audience tune into the \u003ca href=\"https://www.newsweek.com/yashahime-princess-half-demon-inuyasha-sequel-anime-release-date-time-1535744\" target=\"_blank\" rel=\"noopener noreferrer\">new \u003cem>Inuyasha \u003c/em>sequel\u003c/a>.\u003c/p>\n\u003cp>In an oversized \u003cem>Dragon Ball\u003c/em> t-shirt, with his dyed hair grown out and showing roots, it was clear that the celebrated jazz-pop bassist and singer has been just as affected by the cooped-up boredom, isolation and political malaise of 2020 as the rest of us. Between the airy, falsetto choruses of tracks from his new album, \u003cem>It Is What It Is\u003c/em>—the title of which unintentionally echoes a \u003ca href=\"https://www.nbcnews.com/politics/donald-trump/it-what-it-trump-interview-covid-19-death-toll-u-n1235734\" target=\"_blank\" rel=\"noopener noreferrer\">dismal Trump quote\u003c/a> about the pandemic, appropriate for a year of dark nihilism—Thundercat seemed to go from awkward to alive while shredding on his six-string bass, making the “ooh” faces of an impassioned rock star in sync with his instrument.\u003c/p>\n\u003cp>Like the audience, he looked at once thrilled and confused to experience the first fully fledged concert in ages in what basically amounted to a parking lot. At one point, he joked that our honks of approval sounded like road rage, calling it triggering, but he thanked us for our enthusiasm anyway.\u003c/p>\n\u003cfigure id=\"attachment_13888309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0120-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The audience at the Bayshore Drive-In in Burlingame on Oct. 22. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Thundercat show was the first of a new concert series at the Bayshore Drive-In. It’s a golf course near the San Francisco International Airport that local sound company \u003ca href=\"https://www.kqed.org/arts/13887674/drive-in-shows-with-thundercat-major-lazer-boost-bay-area-concert-scene\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts converted into a venue\u003c/a>, with booking help from promoter Hotbox, which puts on these types of concerts across the country—a new trend thanks to the pandemic. It’s admittedly an odd place to see live music, but few Bay Area locations have enough space to meet COVID-19 safety requirements for a drive-in show, so I’m not complaining.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Low-flying planes zoomed by and a community soccer game went on in the field behind the stage while \u003ca href=\"https://www.instagram.com/djumami/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a> played a bouncy and eclectic opening set with remixes of Cardi B’s “WAP” and “\u003ca href=\"https://www.kqed.org/arts/13887427/the-viral-fleetwood-mac-challenge-guy-just-got-10000-in-donations\" target=\"_blank\" rel=\"noopener noreferrer\">Dreams\u003c/a>” by Fleetwood Mac.\u003c/p>\n\u003cp>Mostly young groups of friends, people who probably would have been at Outside Lands or Coachella had they happened this year, danced around their cars. When Umami dropped the \u003ca href=\"https://soundcloud.com/trackademicks/e-40-tell-me-when-to-gotrackademicks-remix\" target=\"_blank\" rel=\"noopener noreferrer\">Trackademicks remix of E-40’s “Tell Me When To Go,”\u003c/a> a few posses moshed and headbanged. The group next to me brought their own drinks in Solo cups. Witnessing the joy and seeing everyone’s crisp sneakers and colorful windbreakers made me feel, for a second, like I was in the “before times”; it was almost like the club, except for there was over 30 feet of distance between the performers and the audience, and we were in masks and not allowed to mingle. (I snuck a quick wave to my friend in another car on the way to the port-a-potty.) [aside postid='arts_13888163']\u003c/p>\n\u003cp>All things considered, Thundercat’s performance was a promising start for the Bayshore Drive-In. The audience was flexible and respectful of the rules; everyone wore their masks and stuck to their group. (“Don’t let us end up on Fox News,” event organizer Robbie Kowal implored from the stage during one of his reminders to socially distance.) There was a bit of a traffic jam coming in, but getting out was impressively swift.\u003c/p>\n\u003cp>Drive-in concerts aren’t ideal by any means, but if this is the way to safely see live music as our country struggles to contain the pandemic, I’ll definitely take it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Concerts at the Bayshore Drive-In continue with Pink Martini, Major Lazer and more. \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After months of sheltering in place, being outside and around people feels strange—even for \u003ca href=\"https://www.kqed.org/arts/13887674/drive-in-shows-with-thundercat-major-lazer-boost-bay-area-concert-scene\">Thundercat\u003c/a>, who played his first show since the COVID-19 shutdown at the \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayshore Drive-In\u003c/a> in Burlingame last night. “This has been a weird year,” he told the audience. “Anybody struggle through \u003ca href=\"https://www.kqed.org/science/1970641/watch-video-of-first-ever-climate-change-segment-in-a-presidential-debate\" target=\"_blank\" rel=\"noopener noreferrer\">the debate\u003c/a> before this to make it worse?”\u003c/p>\n\u003cp>“Well, we’ll be alright—or not,” he continued with an ambivalent laugh, basically personifying the \u003ca href=\"https://www.theverge.com/2016/5/5/11592622/this-is-fine-meme-comic\" target=\"_blank\" rel=\"noopener noreferrer\">“this is fine” meme\u003c/a>, before recommending that his audience tune into the \u003ca href=\"https://www.newsweek.com/yashahime-princess-half-demon-inuyasha-sequel-anime-release-date-time-1535744\" target=\"_blank\" rel=\"noopener noreferrer\">new \u003cem>Inuyasha \u003c/em>sequel\u003c/a>.\u003c/p>\n\u003cp>In an oversized \u003cem>Dragon Ball\u003c/em> t-shirt, with his dyed hair grown out and showing roots, it was clear that the celebrated jazz-pop bassist and singer has been just as affected by the cooped-up boredom, isolation and political malaise of 2020 as the rest of us. Between the airy, falsetto choruses of tracks from his new album, \u003cem>It Is What It Is\u003c/em>—the title of which unintentionally echoes a \u003ca href=\"https://www.nbcnews.com/politics/donald-trump/it-what-it-trump-interview-covid-19-death-toll-u-n1235734\" target=\"_blank\" rel=\"noopener noreferrer\">dismal Trump quote\u003c/a> about the pandemic, appropriate for a year of dark nihilism—Thundercat seemed to go from awkward to alive while shredding on his six-string bass, making the “ooh” faces of an impassioned rock star in sync with his instrument.\u003c/p>\n\u003cp>Like the audience, he looked at once thrilled and confused to experience the first fully fledged concert in ages in what basically amounted to a parking lot. At one point, he joked that our honks of approval sounded like road rage, calling it triggering, but he thanked us for our enthusiasm anyway.\u003c/p>\n\u003cfigure id=\"attachment_13888309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0120-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_0120.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The audience at the Bayshore Drive-In in Burlingame on Oct. 22. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Thundercat show was the first of a new concert series at the Bayshore Drive-In. It’s a golf course near the San Francisco International Airport that local sound company \u003ca href=\"https://www.kqed.org/arts/13887674/drive-in-shows-with-thundercat-major-lazer-boost-bay-area-concert-scene\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts converted into a venue\u003c/a>, with booking help from promoter Hotbox, which puts on these types of concerts across the country—a new trend thanks to the pandemic. It’s admittedly an odd place to see live music, but few Bay Area locations have enough space to meet COVID-19 safety requirements for a drive-in show, so I’m not complaining.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Low-flying planes zoomed by and a community soccer game went on in the field behind the stage while \u003ca href=\"https://www.instagram.com/djumami/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a> played a bouncy and eclectic opening set with remixes of Cardi B’s “WAP” and “\u003ca href=\"https://www.kqed.org/arts/13887427/the-viral-fleetwood-mac-challenge-guy-just-got-10000-in-donations\" target=\"_blank\" rel=\"noopener noreferrer\">Dreams\u003c/a>” by Fleetwood Mac.\u003c/p>\n\u003cp>Mostly young groups of friends, people who probably would have been at Outside Lands or Coachella had they happened this year, danced around their cars. When Umami dropped the \u003ca href=\"https://soundcloud.com/trackademicks/e-40-tell-me-when-to-gotrackademicks-remix\" target=\"_blank\" rel=\"noopener noreferrer\">Trackademicks remix of E-40’s “Tell Me When To Go,”\u003c/a> a few posses moshed and headbanged. The group next to me brought their own drinks in Solo cups. Witnessing the joy and seeing everyone’s crisp sneakers and colorful windbreakers made me feel, for a second, like I was in the “before times”; it was almost like the club, except for there was over 30 feet of distance between the performers and the audience, and we were in masks and not allowed to mingle. (I snuck a quick wave to my friend in another car on the way to the port-a-potty.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All things considered, Thundercat’s performance was a promising start for the Bayshore Drive-In. The audience was flexible and respectful of the rules; everyone wore their masks and stuck to their group. (“Don’t let us end up on Fox News,” event organizer Robbie Kowal implored from the stage during one of his reminders to socially distance.) There was a bit of a traffic jam coming in, but getting out was impressively swift.\u003c/p>\n\u003cp>Drive-in concerts aren’t ideal by any means, but if this is the way to safely see live music as our country struggles to contain the pandemic, I’ll definitely take it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Concerts at the Bayshore Drive-In continue with Pink Martini, Major Lazer and more. \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An SF Arts Presenter Sues the City and State to Allow Outdoor Performances",
"headTitle": "An SF Arts Presenter Sues the City and State to Allow Outdoor Performances | KQED",
"content": "\u003cp>\u003cstrong>Update, Oct. 21, 1:34pm: \u003c/strong>Governor Gavin Newsom’s office has sided with the San Francisco International Arts Festival, stating that it agrees with the plaintiff’s argument that the arts should be subject to the same guidelines as other First Amendment-protected activities, such worship services and protests. Because the state’s guidelines for artistic performances are still being written, Newsom’s office has issued an interim directive that allows performances with audiences of under 100 people. It requires the approval of city and county public health officers. KQED has reached out to Mayor London Breed’s office for comment.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfiaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International Arts Festival\u003c/a> and artist \u003ca href=\"https://nkechi.com/news\" target=\"_blank\" rel=\"noopener noreferrer\">Nkechi Emeruwa\u003c/a> are suing Mayor London Breed and Governor Gavin Newsom to allow an outdoor music, theater and dance performance to go forward despite COVID-19 restrictions, citing the right to free speech under the First Amendment.\u003c/p>\n\u003cp>The lawsuit comes after months of debate about what kinds of public events should be allowed in the city’s phased reopening process.\u003c/p>\n\u003cp>Since San Francisco began resuming parts of its economy after its initial COVID-19 shutdown, the organizers of the San Francisco International Arts Festival (SFIAF) and other industry leaders, such as the \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, have \u003ca href=\"https://www.kqed.org/arts/13885038/sf-venue-owners-musicians-ask-city-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">advocated\u003c/a> for the city to allow outdoor, socially distanced music and theater performances. They argue that the arts should not be excluded when outdoor dining, political rallies and religious services are allowed; furthermore, artists and arts organizations are struggling financially \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">without robust government aid\u003c/a> or a way to generate income.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In September, the city budged and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">Just Add Music\u003c/a> permit, which now allows entertainment to take place in its existing Shared Spaces street closures, outdoor dining areas, drive-ins, outdoor fitness classes and farmers markets. But it still doesn’t allow for standalone concerts or performances.\u003c/p>\n\u003cp>The permit provides a pathway for arts presenters to throw ticketed performances only if they meet the city’s requirements for these other types of outdoor gatherings, and there are numerous, often confusing restrictions. For instance, a private outdoor gathering can have six people if food is served and 12 if it isn’t, but religious or political gatherings of up to 200 people are allowed. And on Nov. 3, restaurants will be able to offer indoor service at 50% capacity or up to 200 people. [aside postid='arts_13886812']\u003c/p>\n\u003cp>In September, Andrew Wood of SFIAF put plans in motion for a weekend of performances at Fort Mason, Oct. 24–25. Because Fort Mason is on federal land, he obtained a Shared Spaces permit for a nearby street and approval from the National Park Service to host 49 people at a time. Once California released guidelines for multi-household gatherings in October, limiting them to 12 people, the city’s Shared Spaces program revoked the permit, citing a conflict with state public health orders.\u003c/p>\n\u003cp>The San Francisco International Arts Festival and theater artist Nkechi Emeruwa, who is slated to perform at the event, filed a lawsuit against the city and state on Oct. 19. Their court filing points out that San Francisco allows large religious gatherings and political rallies, and questions why the arts are excluded despite also being a constitutionally protected form of expression. “Defendants acted collectively to violate Plaintiffs rights to freedom of expression and to discriminate against them, but not other, less constitutionally protected outdoor gathers, without justification,” reads the complaint filed by the Law Offices of Matthew Kumin.\u003c/p>\n\u003cp>“The arts are equally protected under the First Amendment as religious gatherings and protests, so they can’t make a distinction between the two. We expect to win,” says SFIAF director Andrew Wood. [aside postid='arts_13885038']\u003c/p>\n\u003cp>When KQED reached out to Mayor London Breed’s office for comment, the San Francisco City Attorney’s office replied with a statement that cited state rules, calling the SFIAF performance a potential “super-spreader event.”\u003c/p>\n\u003cp>“We know that gatherings of people from different households is a main way this virus is transmitted,” the statement reads. Currently, San Francisco is averaging 31 new COVID-19 cases per day, according to the \u003ca href=\"https://data.sfgov.org/stories/s/COVID-19-Cases-and-Deaths/dak2-gvuj/\" target=\"_blank\" rel=\"noopener noreferrer\">latest available data\u003c/a>.\u003c/p>\n\u003cp>“San Francisco has made tremendous progress in managing the virus because our public health approach has been appropriately cautious,” the statement continues. “On October 9, state health officials released binding guidance limiting the size of private gatherings such as this to no more than three households. This event clearly did not qualify. City officials told the festival organizers that in light of this requirement, public health officials cannot approve this event. Public health leaders have made clear that this is not the time to have a major gathering. The last thing San Francisco needs is a super-spreader event. We’ll review this lawsuit and address it in court, but the fact remains that this event is not allowed under state rules.”\u003c/p>\n\u003cp>When asked a follow-up question about why the city regulates arts events differently than religious gatherings, the city attorney’s spokesperson reiterated state guidelines on gatherings.\u003c/p>\n\u003cp>The organizers of the San Francisco International Arts Festival say that they will go forward with the weekend of programming as a form of protest, and tickets are still on sale.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include the city attorney’s reply to KQED’s follow-up question and the new indoor dining restrictions that will take effect Nov. 3.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Oct. 21, 1:34pm: \u003c/strong>Governor Gavin Newsom’s office has sided with the San Francisco International Arts Festival, stating that it agrees with the plaintiff’s argument that the arts should be subject to the same guidelines as other First Amendment-protected activities, such worship services and protests. Because the state’s guidelines for artistic performances are still being written, Newsom’s office has issued an interim directive that allows performances with audiences of under 100 people. It requires the approval of city and county public health officers. KQED has reached out to Mayor London Breed’s office for comment.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfiaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International Arts Festival\u003c/a> and artist \u003ca href=\"https://nkechi.com/news\" target=\"_blank\" rel=\"noopener noreferrer\">Nkechi Emeruwa\u003c/a> are suing Mayor London Breed and Governor Gavin Newsom to allow an outdoor music, theater and dance performance to go forward despite COVID-19 restrictions, citing the right to free speech under the First Amendment.\u003c/p>\n\u003cp>The lawsuit comes after months of debate about what kinds of public events should be allowed in the city’s phased reopening process.\u003c/p>\n\u003cp>Since San Francisco began resuming parts of its economy after its initial COVID-19 shutdown, the organizers of the San Francisco International Arts Festival (SFIAF) and other industry leaders, such as the \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, have \u003ca href=\"https://www.kqed.org/arts/13885038/sf-venue-owners-musicians-ask-city-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">advocated\u003c/a> for the city to allow outdoor, socially distanced music and theater performances. They argue that the arts should not be excluded when outdoor dining, political rallies and religious services are allowed; furthermore, artists and arts organizations are struggling financially \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">without robust government aid\u003c/a> or a way to generate income.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In September, the city budged and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">Just Add Music\u003c/a> permit, which now allows entertainment to take place in its existing Shared Spaces street closures, outdoor dining areas, drive-ins, outdoor fitness classes and farmers markets. But it still doesn’t allow for standalone concerts or performances.\u003c/p>\n\u003cp>The permit provides a pathway for arts presenters to throw ticketed performances only if they meet the city’s requirements for these other types of outdoor gatherings, and there are numerous, often confusing restrictions. For instance, a private outdoor gathering can have six people if food is served and 12 if it isn’t, but religious or political gatherings of up to 200 people are allowed. And on Nov. 3, restaurants will be able to offer indoor service at 50% capacity or up to 200 people. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In September, Andrew Wood of SFIAF put plans in motion for a weekend of performances at Fort Mason, Oct. 24–25. Because Fort Mason is on federal land, he obtained a Shared Spaces permit for a nearby street and approval from the National Park Service to host 49 people at a time. Once California released guidelines for multi-household gatherings in October, limiting them to 12 people, the city’s Shared Spaces program revoked the permit, citing a conflict with state public health orders.\u003c/p>\n\u003cp>The San Francisco International Arts Festival and theater artist Nkechi Emeruwa, who is slated to perform at the event, filed a lawsuit against the city and state on Oct. 19. Their court filing points out that San Francisco allows large religious gatherings and political rallies, and questions why the arts are excluded despite also being a constitutionally protected form of expression. “Defendants acted collectively to violate Plaintiffs rights to freedom of expression and to discriminate against them, but not other, less constitutionally protected outdoor gathers, without justification,” reads the complaint filed by the Law Offices of Matthew Kumin.\u003c/p>\n\u003cp>“The arts are equally protected under the First Amendment as religious gatherings and protests, so they can’t make a distinction between the two. We expect to win,” says SFIAF director Andrew Wood. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When KQED reached out to Mayor London Breed’s office for comment, the San Francisco City Attorney’s office replied with a statement that cited state rules, calling the SFIAF performance a potential “super-spreader event.”\u003c/p>\n\u003cp>“We know that gatherings of people from different households is a main way this virus is transmitted,” the statement reads. Currently, San Francisco is averaging 31 new COVID-19 cases per day, according to the \u003ca href=\"https://data.sfgov.org/stories/s/COVID-19-Cases-and-Deaths/dak2-gvuj/\" target=\"_blank\" rel=\"noopener noreferrer\">latest available data\u003c/a>.\u003c/p>\n\u003cp>“San Francisco has made tremendous progress in managing the virus because our public health approach has been appropriately cautious,” the statement continues. “On October 9, state health officials released binding guidance limiting the size of private gatherings such as this to no more than three households. This event clearly did not qualify. City officials told the festival organizers that in light of this requirement, public health officials cannot approve this event. Public health leaders have made clear that this is not the time to have a major gathering. The last thing San Francisco needs is a super-spreader event. We’ll review this lawsuit and address it in court, but the fact remains that this event is not allowed under state rules.”\u003c/p>\n\u003cp>When asked a follow-up question about why the city regulates arts events differently than religious gatherings, the city attorney’s spokesperson reiterated state guidelines on gatherings.\u003c/p>\n\u003cp>The organizers of the San Francisco International Arts Festival say that they will go forward with the weekend of programming as a form of protest, and tickets are still on sale.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include the city attorney’s reply to KQED’s follow-up question and the new indoor dining restrictions that will take effect Nov. 3.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Totally Under Control' and 'Time' are Two Very 2020 Documentaries",
"headTitle": "‘Totally Under Control’ and ‘Time’ are Two Very 2020 Documentaries | KQED",
"content": "\u003cp>I doubt I’m alone when I say that this year has been a blur: Sometimes it feels like only yesterday that I was going to the office or heading outside without a mask, and sometimes it feels as though an eternity has passed. This past week I watched two absorbing new documentaries that both seem to bend and distort our sense of the passage of time.\u003c/p>\n\u003cp>One of them, which is actually called \u003cem>Time\u003c/em>, spans more than two decades. The other one, titled \u003cem>Totally Under Control,\u003c/em> focuses on the very moment we’re living in.\u003c/p>\n\u003cp>\u003cem>Totally Under Control\u003c/em> is the latest documentary from the prolific Alex Gibney, who directed it with Suzanne Hillinger and Ophelia Harutyunyan. It’s a cool but damning account of our government’s response to the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/09/01/816707182/map-tracking-the-spread-of-the-coronavirus-in-the-u-s\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 outbreak \u003c/a>that crams several months’ worth of increasingly grim headlines into two hours.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YzTzgf9i4vw\u003c/p>\n\u003cp>While it’s as persuasive and well researched as you’d expect from Gibney, the director of \u003ca href=\"https://www.npr.org/2015/03/26/395579453/church-of-scientology-calls-new-hbo-documentary-bigoted\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Going Clear \u003c/em>\u003c/a>and \u003cem>Enron: The Smartest Guys in the Room\u003c/em>, it might feel redundant to anyone who’s been glued to the news lately. But it’s still bracing to see the details laid out as forcefully and with such measured anger as they are here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Using socially distanced camera setups to ensure everyone’s safety, the filmmakers sat down with journalists, doctors, health experts and government officials. Nearly all of them agree that a deadly airborne virus capable of asymptomatic transmission would always have posed a formidable threat in the U.S. But they also agree it was the president’s relentless downplaying of that threat and his disdain for science that led us to where we are now, with a devastated economy and more than \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/09/22/911934489/enormous-and-tragic-u-s-has-lost-more-than-200-000-people-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">200,000 Americans dead.\u003c/a>\u003c/p>\n\u003cp>The movie focuses on several key areas where efforts to fight the virus broke down, starting with the technical flaws and bureaucratic logjams, involving the CDC and the FDA, that frustrated early attempts at mass testing. This was followed by \u003ca href=\"https://www.npr.org/2020/03/25/820795727/can-the-u-s-crowdsource-its-way-out-of-a-mask-shortage-no-but-it-still-helps\" target=\"_blank\" rel=\"noopener noreferrer\">shortages of protective equipment\u003c/a> for frontline healthcare workers, not helped by the Trump administration’s refusal to intervene on the states’ behalf. And then of course there’s the ongoing nationwide debate over \u003ca href=\"https://www.npr.org/sections/health-shots/2020/06/21/880832213/yes-wearing-masks-helps-heres-why\" target=\"_blank\" rel=\"noopener noreferrer\">face coverings\u003c/a>; a medical supply executive who says he voted for Trump in 2016 expresses shock that wearing a mask in a pandemic could have become so intensely politicized.\u003c/p>\n\u003cp>The glut of information presented here is dizzying but lucid. We hear about the sidelining of knowledgeable scientists like the CDC’s Dr. Nancy Messonnier and federal vaccine expert \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/10/06/920985099/government-scientist-tops-up-whistle-blower-complaint-and-quits-nih\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Rick Bright \u003c/a>when they tried to sound the alarm. And then there’s the irony that Trump himself \u003ca href=\"https://www.npr.org/sections/latest-updates-trump-covid-19-results/2020/10/03/919898777/timeline-what-we-know-of-president-trumps-covid-19-diagnosis\" target=\"_blank\" rel=\"noopener noreferrer\">tested positive\u003c/a> for the virus just a day after this movie was completed. That’s how fast the news is these days: Even a documentary this urgent, and this obviously timed for the upcoming election, can’t help but feel already out of date.\u003c/p>\n\u003cp>Even with its occasional repetitions and oversights, \u003cem>Totally Under Control \u003c/em>gripped me from moment to moment. In a very different way, so did \u003cem>Time\u003c/em>, the first documentary feature directed by Garrett Bradley. It’s a co-production between \u003cem>The New York Times\u003c/em> and Amazon Studios, and it’s one of the most sublime and beautiful documentaries I’ve seen this year.\u003c/p>\n\u003cp>At the heart of \u003cem>Time \u003c/em>is a Black woman named Sibil Fox Richardson, who goes by Fox Rich. In 1997 she planned to open a hip-hop clothing store in Shreveport, La., with her husband, Rob. When an investor backed out, the desperate couple tried to rob a bank. No one was hurt and no money was stolen. Rich, who drove the getaway car, got a plea bargain and served three and a half years. Rob was convicted of armed robbery and sentenced to 60 years.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kq6Hh07oLvs\u003c/p>\n\u003cp>Rich began shooting videos of herself and of their sons so Rob could catch up with all the little moments he’d missed: birthdays and graduations, amusement park trips and pool parties. It added up to a treasure trove of home-movie footage that Rich handed over to Bradley several years ago.\u003c/p>\n\u003cp>Around the same time, Bradley began filming new footage of Rich, now a successful businesswoman; her now-grown children; and her tireless efforts to secure her husband’s release. The result is this sprawling yet intensely intimate chronicle, shot in black-and-white, of a couple’s enduring love and a family’s 21-year pursuit of justice. In one moving scene, Rich speaks about her thwarted hopes that Rob would be released in time to see his sons grow up.\u003c/p>\n\u003cp>\u003cem>Time \u003c/em>is about the cruelty of growing up without a father and growing older without a husband. It’s also about the injustice of a prison system that Rich has spent much of the past two decades speaking out against—by filing appeals and making phone calls on her husband’s behalf, and by giving speeches for the benefit of other people in similar situations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without revealing the outcome of the story, I’ll say that I found it emotionally overwhelming both times I watched the movie—at Sundance earlier this year, where it won a directing prize, and again at home this past week. It runs a short 81 minutes, but by the end, you feel so acutely connected to this family’s joy and pain that years really do seem to have passed. I cherished every moment of this movie, because each one stands in for so many others that have been lost.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Totally+Under+Control%27+And+%27Time%27+Are+Two+Very+2020+Documentaries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I doubt I’m alone when I say that this year has been a blur: Sometimes it feels like only yesterday that I was going to the office or heading outside without a mask, and sometimes it feels as though an eternity has passed. This past week I watched two absorbing new documentaries that both seem to bend and distort our sense of the passage of time.\u003c/p>\n\u003cp>One of them, which is actually called \u003cem>Time\u003c/em>, spans more than two decades. The other one, titled \u003cem>Totally Under Control,\u003c/em> focuses on the very moment we’re living in.\u003c/p>\n\u003cp>\u003cem>Totally Under Control\u003c/em> is the latest documentary from the prolific Alex Gibney, who directed it with Suzanne Hillinger and Ophelia Harutyunyan. It’s a cool but damning account of our government’s response to the \u003ca href=\"https://www.npr.org/sections/health-shots/2020/09/01/816707182/map-tracking-the-spread-of-the-coronavirus-in-the-u-s\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 outbreak \u003c/a>that crams several months’ worth of increasingly grim headlines into two hours.\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/YzTzgf9i4vw'\n title='//www.youtube.com/embed/YzTzgf9i4vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While it’s as persuasive and well researched as you’d expect from Gibney, the director of \u003ca href=\"https://www.npr.org/2015/03/26/395579453/church-of-scientology-calls-new-hbo-documentary-bigoted\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Going Clear \u003c/em>\u003c/a>and \u003cem>Enron: The Smartest Guys in the Room\u003c/em>, it might feel redundant to anyone who’s been glued to the news lately. But it’s still bracing to see the details laid out as forcefully and with such measured anger as they are here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Using socially distanced camera setups to ensure everyone’s safety, the filmmakers sat down with journalists, doctors, health experts and government officials. Nearly all of them agree that a deadly airborne virus capable of asymptomatic transmission would always have posed a formidable threat in the U.S. But they also agree it was the president’s relentless downplaying of that threat and his disdain for science that led us to where we are now, with a devastated economy and more than \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/09/22/911934489/enormous-and-tragic-u-s-has-lost-more-than-200-000-people-to-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">200,000 Americans dead.\u003c/a>\u003c/p>\n\u003cp>The movie focuses on several key areas where efforts to fight the virus broke down, starting with the technical flaws and bureaucratic logjams, involving the CDC and the FDA, that frustrated early attempts at mass testing. This was followed by \u003ca href=\"https://www.npr.org/2020/03/25/820795727/can-the-u-s-crowdsource-its-way-out-of-a-mask-shortage-no-but-it-still-helps\" target=\"_blank\" rel=\"noopener noreferrer\">shortages of protective equipment\u003c/a> for frontline healthcare workers, not helped by the Trump administration’s refusal to intervene on the states’ behalf. And then of course there’s the ongoing nationwide debate over \u003ca href=\"https://www.npr.org/sections/health-shots/2020/06/21/880832213/yes-wearing-masks-helps-heres-why\" target=\"_blank\" rel=\"noopener noreferrer\">face coverings\u003c/a>; a medical supply executive who says he voted for Trump in 2016 expresses shock that wearing a mask in a pandemic could have become so intensely politicized.\u003c/p>\n\u003cp>The glut of information presented here is dizzying but lucid. We hear about the sidelining of knowledgeable scientists like the CDC’s Dr. Nancy Messonnier and federal vaccine expert \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/10/06/920985099/government-scientist-tops-up-whistle-blower-complaint-and-quits-nih\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Rick Bright \u003c/a>when they tried to sound the alarm. And then there’s the irony that Trump himself \u003ca href=\"https://www.npr.org/sections/latest-updates-trump-covid-19-results/2020/10/03/919898777/timeline-what-we-know-of-president-trumps-covid-19-diagnosis\" target=\"_blank\" rel=\"noopener noreferrer\">tested positive\u003c/a> for the virus just a day after this movie was completed. That’s how fast the news is these days: Even a documentary this urgent, and this obviously timed for the upcoming election, can’t help but feel already out of date.\u003c/p>\n\u003cp>Even with its occasional repetitions and oversights, \u003cem>Totally Under Control \u003c/em>gripped me from moment to moment. In a very different way, so did \u003cem>Time\u003c/em>, the first documentary feature directed by Garrett Bradley. It’s a co-production between \u003cem>The New York Times\u003c/em> and Amazon Studios, and it’s one of the most sublime and beautiful documentaries I’ve seen this year.\u003c/p>\n\u003cp>At the heart of \u003cem>Time \u003c/em>is a Black woman named Sibil Fox Richardson, who goes by Fox Rich. In 1997 she planned to open a hip-hop clothing store in Shreveport, La., with her husband, Rob. When an investor backed out, the desperate couple tried to rob a bank. No one was hurt and no money was stolen. Rich, who drove the getaway car, got a plea bargain and served three and a half years. Rob was convicted of armed robbery and sentenced to 60 years.\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/kq6Hh07oLvs'\n title='//www.youtube.com/embed/kq6Hh07oLvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rich began shooting videos of herself and of their sons so Rob could catch up with all the little moments he’d missed: birthdays and graduations, amusement park trips and pool parties. It added up to a treasure trove of home-movie footage that Rich handed over to Bradley several years ago.\u003c/p>\n\u003cp>Around the same time, Bradley began filming new footage of Rich, now a successful businesswoman; her now-grown children; and her tireless efforts to secure her husband’s release. The result is this sprawling yet intensely intimate chronicle, shot in black-and-white, of a couple’s enduring love and a family’s 21-year pursuit of justice. In one moving scene, Rich speaks about her thwarted hopes that Rob would be released in time to see his sons grow up.\u003c/p>\n\u003cp>\u003cem>Time \u003c/em>is about the cruelty of growing up without a father and growing older without a husband. It’s also about the injustice of a prison system that Rich has spent much of the past two decades speaking out against—by filing appeals and making phone calls on her husband’s behalf, and by giving speeches for the benefit of other people in similar situations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without revealing the outcome of the story, I’ll say that I found it emotionally overwhelming both times I watched the movie—at Sundance earlier this year, where it won a directing prize, and again at home this past week. It runs a short 81 minutes, but by the end, you feel so acutely connected to this family’s joy and pain that years really do seem to have passed. I cherished every moment of this movie, because each one stands in for so many others that have been lost.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Totally+Under+Control%27+And+%27Time%27+Are+Two+Very+2020+Documentaries&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Founded by philanthropist F. Warren Hellman, \u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a> has always brimmed with a spirit of generosity. For the last 20 years, the festival has brought a weekend of free music to Golden Gate Park, delighting fans and giving opportunities to dozens of local blues, rock and folk artists.\u003c/p>\n\u003cp>Hardly Strictly organizers have been incredibly giving during the pandemic, which has forced artists to cobble together a living without live shows and caused venues to teeter on the edge of closing permanently. (In fact, \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">some have\u003c/a> already.) In addition to their $1 million donation to the \u003ca href=\"https://www.artistrelief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Relief\u003c/a> fund, last weekend’s Let the Music Play On livestream—which took place instead of the IRL festival this year—raised $500,000 for the grant program, which gives out $5,000 to artists who’ve lost work during COVID-19 shutdowns. The current Artist Relief \u003ca href=\"https://www.artistrelief.org/apply\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> cycle is open through Oct. 21. [aside postid='arts_13887215']\u003c/p>\n\u003cp>Hardly Strictly also announced that its own COVID-19 relief fund has given out $1.6 in funding. $600,000 of that amount went to individual musicians facing financial struggles, and $1 million went to Bay Area venues. Those include Ashkenaz, the Back Room, Bottom of the Hill, the Chapel, El Rio, Eli’s Mile High Club, Felton Music Hall, Geoffrey’s Inner Circle, the Ivy Room, the Lost Church, Mystic Theatre, the Monkey House, La Peña, Red Poppy Art House and the Starry Plough.\u003c/p>\n\u003cp>$25,000 also went to the \u003ca href=\"https://www.sweetrelief.org/rex-roadie-fund.html\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Relief Rex Roadie Fund\u003c/a>, which offers financial aid to crew members who work behind the scenes at concerts.\u003c/p>\n\u003cp>It’s crucial help for the music community at a time when the next COVID-19 relief package stalls in Congress, and the \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> hangs in limbo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Founded by philanthropist F. Warren Hellman, \u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a> has always brimmed with a spirit of generosity. For the last 20 years, the festival has brought a weekend of free music to Golden Gate Park, delighting fans and giving opportunities to dozens of local blues, rock and folk artists.\u003c/p>\n\u003cp>Hardly Strictly organizers have been incredibly giving during the pandemic, which has forced artists to cobble together a living without live shows and caused venues to teeter on the edge of closing permanently. (In fact, \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">some have\u003c/a> already.) In addition to their $1 million donation to the \u003ca href=\"https://www.artistrelief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Relief\u003c/a> fund, last weekend’s Let the Music Play On livestream—which took place instead of the IRL festival this year—raised $500,000 for the grant program, which gives out $5,000 to artists who’ve lost work during COVID-19 shutdowns. The current Artist Relief \u003ca href=\"https://www.artistrelief.org/apply\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> cycle is open through Oct. 21. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hardly Strictly also announced that its own COVID-19 relief fund has given out $1.6 in funding. $600,000 of that amount went to individual musicians facing financial struggles, and $1 million went to Bay Area venues. Those include Ashkenaz, the Back Room, Bottom of the Hill, the Chapel, El Rio, Eli’s Mile High Club, Felton Music Hall, Geoffrey’s Inner Circle, the Ivy Room, the Lost Church, Mystic Theatre, the Monkey House, La Peña, Red Poppy Art House and the Starry Plough.\u003c/p>\n\u003cp>$25,000 also went to the \u003ca href=\"https://www.sweetrelief.org/rex-roadie-fund.html\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Relief Rex Roadie Fund\u003c/a>, which offers financial aid to crew members who work behind the scenes at concerts.\u003c/p>\n\u003cp>It’s crucial help for the music community at a time when the next COVID-19 relief package stalls in Congress, and the \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> hangs in limbo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]T[/dropcap]he video for Tom Misch and Yussef Dayes’ “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=ImllpvDwbQ8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Nightrider\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” featuring Freddie Gibbs opens with a familiar scene: Three friends drive down a road in a burnt orange convertible, smoking and vibing out to the track as the world glows with the teals, pinks and yellows of dusk. The simple visual is steeped in nostalgia, and it’s easy to escape into Misch and Dayes’ world as we reminisce about better times before quarantine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only difference from our memories? Everything is animated.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/ImllpvDwbQ8\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since the beginnings of the COVID-19 outbreak in the U.S. in March, animated music videos have appeared everywhere. Misch and Dayes followed “Nightrider” with another fully animated video, “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=o-llwv4pLrg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Tidal Wave\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Billie Eilish released “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Dm9Zf1WYQ_A\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">my future\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” as an animated video in collaboration with Takashi Murakami. The Weeknd imagined “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=G0JKdFjWkLA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Snowchild\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” in an ethereal, otherworldly anime landscape. Dua Lipa personified a modern-day Betty Boop in her video for “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=qcZ7e9EOQTY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Hallucinate\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Lil Wayne returned to his skater days in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=On8aAWz5s98\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">I Don’t Sleep\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Doja Cat and Victoria Monet blurred realities in their hybrid half live-action, half-3D animation in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XEJLuJyxLDE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Like That\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” and “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=unniQzo65W8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Jaguar\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\">” respectively. And Grimes took the trend even further, dabbling in a 3D, video game-like space in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=6CfJFKaL8-0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Darkseid\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/Dm9Zf1WYQ_A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Animation in music isn’t a novel concept, but the pandemic has given it new relevance. Animated music videos saw their \u003c/span>\u003ca href=\"https://journal.animationstudies.org/gunnar-strm-the-two-golden-ages-of-animated-music-video/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">first meaningful boom in the ’80s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And stars of the 2000s, including Kanye West and Gorillaz, helped popularize the 2D format even further.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In recent years, artists who grew up in the ’90s watching \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sailor Moon\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Naruto\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and Adult Swim’s Toonami have shown animation’s lasting influence on their work (\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=F4XRpodWaKI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lil Uzi Vert\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lkQ6uHr0TQE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Megan Thee Stallion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, for starters), but the medium hasn’t been as mainstream as it is now. With limitations and increased costs due to COVID-19 precautions, shooting live-action videos has been less feasible, opening the door for the massive rise in animated music videos we’ve seen in the last few months.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/6CfJFKaL8-0\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">Across the industry, animation has gotten this huge uptick in production. Because of the way animation is produced, everyone can work from home easily, whereas with live action you need to be there with your co-stars, the production crew and all this other stuff,” Arthell Isom explains. Based in Tokyo, Isom is co-founder of \u003c/span>\u003ca href=\"https://www.instagram.com/dartshtajio/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">D’ART Shtajio\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the first Black-owned anime studio in Japan and the creators of The Weeknd’s “Snowchild” video. “Artists still want to get their music out and make videos, and animation is a vehicle to do that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]M[/dropcap]any videos originally planned as live-action were actually adapted into animation after COVID-19 restrictions rolled out. For London-based animator \u003c/span>\u003ca href=\"https://www.instagram.com/jbanimation/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Jack Brown\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who animated and directed both “Nightrider” and “Tidal Wave,” quarantine became a rare opportunity to work for an artist he had long admired—and a chance to break down barriers in the music industry around animated work. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/G0JKdFjWkLA\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re so used to us [animators] emailing people like, ‘Hey, does your band want an animated music video?’ and them going ‘No, it’s too weird, it doesn’t fit with the image,’” says Brown. “And all of a sudden these people are emailing us back and going, ‘Actually, we changed our minds.’ It was a noticeable flip of a switch.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both Isom and Brown hope that animation in music will continue to grow, even as live-action production starts up again. The way they see it, animation offers a freedom beyond what’s possible in reality, and they want to share that with viewers. \u003c/span>\u003cspan style=\"font-weight: 400\">For artists and fans alike, the ability to both create and escape into an alternate reality is incredibly enticing—especially at a moment when climate disasters, political tumult and a highly-infectious pandemic are sweeping the globe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">L.A. musician \u003c/span>\u003ca href=\"https://www.instagram.com/michiguerrero/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Michi Guerrero \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">recently released an animated music video for her single “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=r8wSlxuT5nI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Escondida\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” in collaboration with Spanish animator Maria Medem and creative director Haley Appell, and she’s found respite in creating a world that transcends barriers when real life feels full of them. \u003c/span>\u003cspan style=\"font-weight: 400\">“I had imagined [the ‘Escondida’ video] being live,” Guerrero says. “But as it went on, [I realized] we literally have so much freedom within animation. It’s still that collaborative working together, and what we envision is still there, just in a different medium.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Working in animation created the opportunity for an international collaboration, which helped Guerrero dream bigger than she could when shooting videos locally. “It’s all about finding the positives,” she says. “We’re not completely stripped of everything.”\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/r8wSlxuT5nI\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]P[/dropcap]sychologically, the freedom to go beyond reality can also positively impact mental health—another reason why many of us have gravitated towards cartoons in during the pandemic. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Avatar: The Last Airbender\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> became the top-streamed show\u003c/span>\u003ca href=\"https://www.newsweek.com/avatar-last-airbender-show-netflix-chart-top-10-record-1519004\">\u003cspan style=\"font-weight: 400\"> on Netflix\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> after it was added in May, for instance, even though it hadn’t had a new episode in 12 years.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In an article for \u003c/span>\u003ca href=\"https://www.vice.com/en/article/d7e9xa/therapists-explain-how-cartoons-affect-your-mental-health\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">VICE\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 2017\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Elizabeth Sherman spoke with New York psychotherapist Dr. Laurel Steinberg about the psychological benefits of watching animation. “Cartoons model higher frustration tolerance and activate a person’s problem solving abilities,” said Steinberg. She believes that building up these basic problem-solving skills can improve life circumstances and alleviate anxiety and depression in the long term. [aside postid='arts_13887169,arts_13887401,arts_13887427' label='More Arts and Culture']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the United States, we’re just now starting to shift away from the idea that cartoons are only for children—a crucial bridge we must cross in order to understand animation’s true potential as an artistic medium. By creating mostly adult animes, D’ART Shtajio operates constantly in that space and hopes to challenge those stereotypes in their work. The slow, R&B vibe of “Snowchild,” for instance, took much greater emotional expression than a fast-paced hip-hop video like their \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Kd-6pO79JH4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">2018 release featuring Bad Bunny, Future and Anuel AA for Spiff TV\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Anime in the West was traditionally viewed as a vehicle for telling stories to younger audiences. That’s what we’re interested in at D’ART Shtajio—trying to switch that concept,” Isom shares. “Animation is really just a medium; it’s a tool you can tell any story in. How do we break that barrier so that adults can sit down, watch and take this story seriously?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finding hope, comfort and freedom in our everyday lives is more important now than ever. And if animated music videos help give us a small glimpse of those feelings, we must recognize their value, celebrate them and also keep making them, even after we can gather again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hayao Miyazaki said animation smooths the hard lines of reality. I’ve definitely butchered that,” Brown laughs. “But it’s so true. Everything down to actual hard lines—things can be softer. Brighter.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He adds, “People always complain about doing animation over live action because you have to sit there and draw everything and it’s exhausting. But the reality is…you’re creating something completely from scratch. From a white piece of paper. You can fly. You can do whatever. You can create whatever you want to.”\u003c/span>\u003c/p>\n\n",
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"excerpt": "Animated music videos are having a resurgence because of COVID-19 limitations on filming. Their creators hope that trend is here to stay.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he video for Tom Misch and Yussef Dayes’ “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=ImllpvDwbQ8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Nightrider\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” featuring Freddie Gibbs opens with a familiar scene: Three friends drive down a road in a burnt orange convertible, smoking and vibing out to the track as the world glows with the teals, pinks and yellows of dusk. The simple visual is steeped in nostalgia, and it’s easy to escape into Misch and Dayes’ world as we reminisce about better times before quarantine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only difference from our memories? Everything is animated.\u003c/span>\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/ImllpvDwbQ8'\n title='//www.youtube.com/embed/ImllpvDwbQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Since the beginnings of the COVID-19 outbreak in the U.S. in March, animated music videos have appeared everywhere. Misch and Dayes followed “Nightrider” with another fully animated video, “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=o-llwv4pLrg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Tidal Wave\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Billie Eilish released “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Dm9Zf1WYQ_A\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">my future\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” as an animated video in collaboration with Takashi Murakami. The Weeknd imagined “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=G0JKdFjWkLA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Snowchild\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” in an ethereal, otherworldly anime landscape. Dua Lipa personified a modern-day Betty Boop in her video for “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=qcZ7e9EOQTY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Hallucinate\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Lil Wayne returned to his skater days in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=On8aAWz5s98\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">I Don’t Sleep\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Doja Cat and Victoria Monet blurred realities in their hybrid half live-action, half-3D animation in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XEJLuJyxLDE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Like That\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” and “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=unniQzo65W8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Jaguar\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\">” respectively. And Grimes took the trend even further, dabbling in a 3D, video game-like space in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=6CfJFKaL8-0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Darkseid\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">”\u003c/span>\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/Dm9Zf1WYQ_A'\n title='//www.youtube.com/embed/Dm9Zf1WYQ_A'\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>\u003cspan style=\"font-weight: 400\">Animation in music isn’t a novel concept, but the pandemic has given it new relevance. Animated music videos saw their \u003c/span>\u003ca href=\"https://journal.animationstudies.org/gunnar-strm-the-two-golden-ages-of-animated-music-video/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">first meaningful boom in the ’80s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And stars of the 2000s, including Kanye West and Gorillaz, helped popularize the 2D format even further.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In recent years, artists who grew up in the ’90s watching \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sailor Moon\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Naruto\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and Adult Swim’s Toonami have shown animation’s lasting influence on their work (\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=F4XRpodWaKI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lil Uzi Vert\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lkQ6uHr0TQE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Megan Thee Stallion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, for starters), but the medium hasn’t been as mainstream as it is now. With limitations and increased costs due to COVID-19 precautions, shooting live-action videos has been less feasible, opening the door for the massive rise in animated music videos we’ve seen in the last few months.\u003c/span>\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/6CfJFKaL8-0'\n title='//www.youtube.com/embed/6CfJFKaL8-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">Across the industry, animation has gotten this huge uptick in production. Because of the way animation is produced, everyone can work from home easily, whereas with live action you need to be there with your co-stars, the production crew and all this other stuff,” Arthell Isom explains. Based in Tokyo, Isom is co-founder of \u003c/span>\u003ca href=\"https://www.instagram.com/dartshtajio/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">D’ART Shtajio\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the first Black-owned anime studio in Japan and the creators of The Weeknd’s “Snowchild” video. “Artists still want to get their music out and make videos, and animation is a vehicle to do that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>any videos originally planned as live-action were actually adapted into animation after COVID-19 restrictions rolled out. For London-based animator \u003c/span>\u003ca href=\"https://www.instagram.com/jbanimation/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Jack Brown\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who animated and directed both “Nightrider” and “Tidal Wave,” quarantine became a rare opportunity to work for an artist he had long admired—and a chance to break down barriers in the music industry around animated work. \u003c/span>\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/G0JKdFjWkLA'\n title='//www.youtube.com/embed/G0JKdFjWkLA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“We’re so used to us [animators] emailing people like, ‘Hey, does your band want an animated music video?’ and them going ‘No, it’s too weird, it doesn’t fit with the image,’” says Brown. “And all of a sudden these people are emailing us back and going, ‘Actually, we changed our minds.’ It was a noticeable flip of a switch.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both Isom and Brown hope that animation in music will continue to grow, even as live-action production starts up again. The way they see it, animation offers a freedom beyond what’s possible in reality, and they want to share that with viewers. \u003c/span>\u003cspan style=\"font-weight: 400\">For artists and fans alike, the ability to both create and escape into an alternate reality is incredibly enticing—especially at a moment when climate disasters, political tumult and a highly-infectious pandemic are sweeping the globe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">L.A. musician \u003c/span>\u003ca href=\"https://www.instagram.com/michiguerrero/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Michi Guerrero \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">recently released an animated music video for her single “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=r8wSlxuT5nI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Escondida\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” in collaboration with Spanish animator Maria Medem and creative director Haley Appell, and she’s found respite in creating a world that transcends barriers when real life feels full of them. \u003c/span>\u003cspan style=\"font-weight: 400\">“I had imagined [the ‘Escondida’ video] being live,” Guerrero says. “But as it went on, [I realized] we literally have so much freedom within animation. It’s still that collaborative working together, and what we envision is still there, just in a different medium.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Working in animation created the opportunity for an international collaboration, which helped Guerrero dream bigger than she could when shooting videos locally. “It’s all about finding the positives,” she says. “We’re not completely stripped of everything.”\u003c/span>\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/r8wSlxuT5nI'\n title='//www.youtube.com/embed/r8wSlxuT5nI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">P\u003c/span>\u003c/p>\u003cp>sychologically, the freedom to go beyond reality can also positively impact mental health—another reason why many of us have gravitated towards cartoons in during the pandemic. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Avatar: The Last Airbender\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> became the top-streamed show\u003c/span>\u003ca href=\"https://www.newsweek.com/avatar-last-airbender-show-netflix-chart-top-10-record-1519004\">\u003cspan style=\"font-weight: 400\"> on Netflix\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> after it was added in May, for instance, even though it hadn’t had a new episode in 12 years.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In an article for \u003c/span>\u003ca href=\"https://www.vice.com/en/article/d7e9xa/therapists-explain-how-cartoons-affect-your-mental-health\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">VICE\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 2017\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Elizabeth Sherman spoke with New York psychotherapist Dr. Laurel Steinberg about the psychological benefits of watching animation. “Cartoons model higher frustration tolerance and activate a person’s problem solving abilities,” said Steinberg. She believes that building up these basic problem-solving skills can improve life circumstances and alleviate anxiety and depression in the long term. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the United States, we’re just now starting to shift away from the idea that cartoons are only for children—a crucial bridge we must cross in order to understand animation’s true potential as an artistic medium. By creating mostly adult animes, D’ART Shtajio operates constantly in that space and hopes to challenge those stereotypes in their work. The slow, R&B vibe of “Snowchild,” for instance, took much greater emotional expression than a fast-paced hip-hop video like their \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Kd-6pO79JH4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">2018 release featuring Bad Bunny, Future and Anuel AA for Spiff TV\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Anime in the West was traditionally viewed as a vehicle for telling stories to younger audiences. That’s what we’re interested in at D’ART Shtajio—trying to switch that concept,” Isom shares. “Animation is really just a medium; it’s a tool you can tell any story in. How do we break that barrier so that adults can sit down, watch and take this story seriously?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finding hope, comfort and freedom in our everyday lives is more important now than ever. And if animated music videos help give us a small glimpse of those feelings, we must recognize their value, celebrate them and also keep making them, even after we can gather again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hayao Miyazaki said animation smooths the hard lines of reality. I’ve definitely butchered that,” Brown laughs. “But it’s so true. Everything down to actual hard lines—things can be softer. Brighter.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He adds, “People always complain about doing animation over live action because you have to sit there and draw everything and it’s exhausting. But the reality is…you’re creating something completely from scratch. From a white piece of paper. You can fly. You can do whatever. You can create whatever you want to.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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