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"content": "\u003cp>Before the pandemic, \u003ca href=\"https://starlinesocialclub.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> overflowed with chattering party-goers on Fridays and Saturdays, hosted low-key folk and jazz shows during the week and offered a safe space to belt out karaoke every Sunday. Since shelter-in-place orders began in March, it’s mostly sat boarded up, apart from a short-lived period of serving takeout.\u003c/p>\n\u003cp>The popular Oakland bar, club and eatery’s owners say they’ve found themselves in a tough predicament as bills pile up, their Paycheck Protection Program loan runs out and \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">legislation to help music venues\u003c/a> stalls in Congress. And to avoid a potential future foreclosure on their property, they decided to sell the building and business. They hope a buyer with deeper pockets will carry forward Starline’s legacy after the pandemic is over and full-capacity concerts resume again.\u003c/p>\n\u003cp>“We’re not worried about our own egos and attachment to the business,” says Drew Bennett, one of the club’s four managing owners. “Our primary goal is to land the baby in safe hands.”\u003c/p>\n\u003cp>A historic ballroom built in the 1890s, Starline Social Club was once an Odd Fellows Hall and, later, an advocacy group for deaf people. It operated as a venue called \u003ca href=\"https://www.yelp.com/biz/2232-mlk-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">2232 MLK\u003c/a> in the 2000s, and housed the Starline janitorial supply company. The building was mostly in disuse when one of the Starline Social Club owners, Adam Hatch, first visited it for an underground show over 10 years ago. He later rented it with several others as an unofficial artist live-work space, and, after undergoing the proper permitting processes, opened it as a bar, restaurant and music venue with seven business partners in 2015. They later acquired the building in 2018.\u003c/p>\n\u003cp>“I always had been doing underground kind of events, so the idea that we could do something legally or above ground was weird to me,” says Hatch. “But we got our stuff together. And when we got enough people involved and realized there was this opportunity to create this weird business that does shows, sells food and does stuff for the community, it got real.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hatch, a co-founder of storied underground venue \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500\" target=\"_blank\" rel=\"noopener noreferrer\">LoBot Gallery\u003c/a>, carried with him a breadth of experience and connections in Oakland’s eclectic music scene, and the other owners came from various backgrounds in arts, culture and dining. (Alex Maynard, who developed the food and drinks menu, is also involved in Afro-Caribbean bar Sobre Mesa.) [aside postid='arts_13880884']\u003c/p>\n\u003cp>Over the last five years, Starline Social Club became known as a home to Oakland’s many creative scenes, with rap shows, dance parties and indie rock concerts all taking place there—sometimes on the same night—while food and drinks were served downstairs. I DJed there semi-regularly over the last three years, and always found a diverse, open-minded crowd of people eager to embrace new sounds and underground throwbacks alike.\u003c/p>\n\u003cfigure id=\"attachment_13887252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067-800x534.jpg\" alt=\"A crowd of dancers in a busy ballroom.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at Starline Social Club in 2019. \u003ccite>(In a Dream )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hatch takes pride in the fact that Starline’s business model included paying a living wage and giving back to the surrounding community. As housing costs climbed in Oakland, it held rent parties where bar proceeds went to the living expenses of someone in need. Several times a year, the bar rounded up volunteer barbers and medical professionals and collected tent donations for the encampment of unhoused people down the street on Martin Luther King Jr. Way.\u003c/p>\n\u003cp>“One of the reasons we were successful is one of the reasons we can’t survive,” says Hatch. “The bottom line to us wasn’t financial—the bottom line was what was happening in our community.”\u003c/p>\n\u003cp>Starline’s former talent buyer Jason Stinnett booked shows there with up-and-coming acts like rapper Princess Nokia and house producer Channel Tres, as well as nostalgic artists with cult followings, such as Egyptian Lover and Mike Jones. Local, multi-cultural party outfit Club Chai held a \u003ca href=\"https://youtu.be/gCGnOau6rQU\" target=\"_blank\" rel=\"noopener noreferrer\">Boiler Room party\u003c/a> there—the first in Oakland. “People were excited to hear new voices and new stories,” Stinnett says warmly of Starline’s audience. [aside postid='arts_13886812']\u003c/p>\n\u003cp>Nearly seven months into the pandemic, some Oakland bars have reopened with outdoor tables and curbside food and drinks. But the owners of Starline say it’s unfeasible for them to operate at 25% or even 50% capacity. Their business model relied on their 400-person-capacity upstairs ballroom and 100-person-capacity side room to be packed to the brim, with people crowding in and ordering food and drinks all night. They also regularly rented out both spaces for more costly private events as an additional revenue stream. Though the venue never lacked patrons, the owners say they rarely profited with around $300,000 a year in mortgage, loans and insurance, in addition to what they paid their 65 employees.\u003c/p>\n\u003cp>“We don’t know how to survive with anything except for 100% of our full business models,” says Bennett.\u003c/p>\n\u003cp>And with the Save Our Stages Act, which would offer substantial grants to music venues, still awaiting a vote in Congress, the Starline team decided that it was better to sell than await help that may never come. “We have a mortgage, insurance and that kind of stuff, and there’s no money coming in,” says Hatch. “It’d be great if there was a signal from the government there’s going to be some kind of relief.” [aside postid='arts_13883952']\u003c/p>\n\u003cp>The 8,520-square-foot building is \u003ca href=\"https://www.loopnet.com/Listing/2232-2236-Martin-Luther-King-Jr-Way-Oakland-CA/20770107/\" target=\"_blank\" rel=\"noopener noreferrer\">now listed for $3.2 million\u003c/a>; additionally, the business is priced at $300,000. Hatch, Bennett and the other owners hope the right buyer will come along—one who can preserve the Starline vision, or at least keep the space as a venue. “The pie in the sky would be that the hyper-inclusive, safe space, hyper-eclectic programming, thoughtful food and drink, activist-forward kind of culture would remain,” Bennett says. “That’s the center of the bull’s-eye. The rough aim is to keep the property as a cultural arts space for Oakland.”\u003c/p>\n\u003cp>He concludes, “The hot lava we’re trying not to step on is have the building fall into the hands of people who are not invested in the arts and culture.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to include details about the Starline Social Club building’s previous incarnation as the venue 2232 MLK.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the last five years, Starline Social Club became known as a home to Oakland’s many creative scenes, with rap shows, dance parties and indie rock concerts all taking place there—sometimes on the same night—while food and drinks were served downstairs. I DJed there semi-regularly over the last three years, and always found a diverse, open-minded crowd of people eager to embrace new sounds and underground throwbacks alike.\u003c/p>\n\u003cfigure id=\"attachment_13887252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067-800x534.jpg\" alt=\"A crowd of dancers in a busy ballroom.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/020919_IN-A-DREAM_SHOTBYGUERRILLA_1500W_FINAL_DSC08067.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at Starline Social Club in 2019. \u003ccite>(In a Dream )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hatch takes pride in the fact that Starline’s business model included paying a living wage and giving back to the surrounding community. As housing costs climbed in Oakland, it held rent parties where bar proceeds went to the living expenses of someone in need. Several times a year, the bar rounded up volunteer barbers and medical professionals and collected tent donations for the encampment of unhoused people down the street on Martin Luther King Jr. Way.\u003c/p>\n\u003cp>“One of the reasons we were successful is one of the reasons we can’t survive,” says Hatch. “The bottom line to us wasn’t financial—the bottom line was what was happening in our community.”\u003c/p>\n\u003cp>Starline’s former talent buyer Jason Stinnett booked shows there with up-and-coming acts like rapper Princess Nokia and house producer Channel Tres, as well as nostalgic artists with cult followings, such as Egyptian Lover and Mike Jones. Local, multi-cultural party outfit Club Chai held a \u003ca href=\"https://youtu.be/gCGnOau6rQU\" target=\"_blank\" rel=\"noopener noreferrer\">Boiler Room party\u003c/a> there—the first in Oakland. “People were excited to hear new voices and new stories,” Stinnett says warmly of Starline’s audience. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nearly seven months into the pandemic, some Oakland bars have reopened with outdoor tables and curbside food and drinks. But the owners of Starline say it’s unfeasible for them to operate at 25% or even 50% capacity. Their business model relied on their 400-person-capacity upstairs ballroom and 100-person-capacity side room to be packed to the brim, with people crowding in and ordering food and drinks all night. They also regularly rented out both spaces for more costly private events as an additional revenue stream. Though the venue never lacked patrons, the owners say they rarely profited with around $300,000 a year in mortgage, loans and insurance, in addition to what they paid their 65 employees.\u003c/p>\n\u003cp>“We don’t know how to survive with anything except for 100% of our full business models,” says Bennett.\u003c/p>\n\u003cp>And with the Save Our Stages Act, which would offer substantial grants to music venues, still awaiting a vote in Congress, the Starline team decided that it was better to sell than await help that may never come. “We have a mortgage, insurance and that kind of stuff, and there’s no money coming in,” says Hatch. “It’d be great if there was a signal from the government there’s going to be some kind of relief.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 8,520-square-foot building is \u003ca href=\"https://www.loopnet.com/Listing/2232-2236-Martin-Luther-King-Jr-Way-Oakland-CA/20770107/\" target=\"_blank\" rel=\"noopener noreferrer\">now listed for $3.2 million\u003c/a>; additionally, the business is priced at $300,000. Hatch, Bennett and the other owners hope the right buyer will come along—one who can preserve the Starline vision, or at least keep the space as a venue. “The pie in the sky would be that the hyper-inclusive, safe space, hyper-eclectic programming, thoughtful food and drink, activist-forward kind of culture would remain,” Bennett says. “That’s the center of the bull’s-eye. The rough aim is to keep the property as a cultural arts space for Oakland.”\u003c/p>\n\u003cp>He concludes, “The hot lava we’re trying not to step on is have the building fall into the hands of people who are not invested in the arts and culture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include details about the Starline Social Club building’s previous incarnation as the venue 2232 MLK.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Here’s How Performing Artists Stay Afloat Six Months into the Pandemic",
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"content": "\u003cp>Before the pandemic, \u003ca href=\"https://www.ninasawant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nina Sawant\u003c/a> made a living hanging from hoops, contorting into improbable shapes and shimmering in sequins under neon lights.\u003c/p>\n\u003cp>Now, the Oakland circus artist and aerialist has had her work dramatically reduced to a few sporadic online shows. With the Bay Area’s shelter-in-place orders dragging into their seventh month, Sawant and theater, circus, dance and other performing artists are finding themselves trying to adapt their career plans as their industry lingers in an indefinite hiatus.\u003c/p>\n\u003cp>“There’s a hope that there will be a sort of a renaissance and people will be hungry to see theater shows and support the arts,” she says, “but I and all the people I know are taking it day by day and building up our additional skill sets so that, if the time comes, we have something to turn to if we’re not able to make a living anymore doing the things we’ve built our lives around.”\u003c/p>\n\u003cp>Last week, San Francisco moved to \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">allow entertainment\u003c/a> in outdoor dining areas and other city-designated Shared Spaces, but it’s unclear how advantageous the program will be for the theater industry. And for Sawant, the transition back to a booming circus arts business is a lot more complicated than shows reopening. In addition to theater performances, her more lucrative gigs at private parties for tech companies such as Apple and Google are also indefinitely on hold.\u003c/p>\n\u003cfigure id=\"attachment_13887156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg\" alt=\"An aerialist hangs from silk while pouring champagne.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-768x1154.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before COVID-19, Nina Sawant made a large portion of her income performing at private parties for large tech companies. \u003ccite>(Courtesy of Nina Sawant)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though some tech giants are doing well during the pandemic, their company culture is changing. Twitter is subleasing some of its Market Street office space; Google and Facebook told employees they’ll be working from home long term. Sawant wonders how long it’ll be before companies require their workers to show up in the same physical location, let alone budget for a huge party.\u003c/p>\n\u003cp>“We really at this point don’t know how long it’ll take for things to come back and what it’s going to look like when they do,” she says.\u003c/p>\n\u003cp>Careers in the performing arts have always been precarious. But the pandemic and its attendant uncertainty are teaching many artists valuable lessons in diversifying their skills in order to weather the storm. Sawant started two Patreon accounts: \u003ca href=\"https://www.patreon.com/thecircushustle\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> where she gives business and career advice to circus artists, and \u003ca href=\"https://www.patreon.com/ninauiu\" target=\"_blank\" rel=\"noopener noreferrer\">another\u003c/a> where fans can watch her perform. And she’s discovered a new passion for film directing and video editing. For \u003ca href=\"http://www.vespertinecircus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vespertine Circus\u003c/a>, a Bay Area troupe that produces online shows, she edits music video-like clips of circus acts that are later played at ticketed livestreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“None of it is on Zoom, so it doesn’t feel like you’re on a terrible work call,” she says of Vespertine’s online shows, adding that its online platform also allows viewers to socialize. “And the production value is a lot higher.”\u003c/p>\n\u003cp>While some artists find success in embracing technology, others are focusing on more behind-the-scenes aspects of their craft. That’s the case for \u003ca href=\"http://www.akainaghosh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Akaina Ghosh\u003c/a>, a stage actor who has had a few virtual performances during the pandemic but has mostly turned their focus towards writing and teaching. [aside postid='arts_13886812']\u003c/p>\n\u003cp>“My biggest challenge has been sitting with the reality that my career is postponed indefinitely,” says Ghosh, who was in rehearsal for a play at the \u003ca href=\"https://cuttingball.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cutting Ball Theater\u003c/a> when theaters closed down. “It’s hard to feel creative when my profession may not come back full-swing for a year or two.”\u003c/p>\n\u003cp>While some artists have received unemployment or emergency COVID-19 relief grants, Ghosh has been living off savings and freelance gigs. Those have including conducting interviews with other theater professionals for the \u003ca href=\"http://www.sfshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Shakespeare Festival\u003c/a>’s website and working as a teacher assistant for a sketch comedy writing course from \u003ca href=\"https://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Killing My Lobster\u003c/a>. Though these jobs have generated some income, Ghosh still yearns for a steadier paycheck and has looked into other fields such as broadcasting. They say their peers are doing the same.\u003c/p>\n\u003cp>“I have friends that are voice teachers, or acting teachers, or things like that,” the artist adds. “But ultimately, we’re seeing this dip in the theater industry that is for the foreseeable future, and they want to get out while they still can.”\u003c/p>\n\u003cp>Ultimately, Ghosh worries that the pandemic will make theater even less accessible to artists of color, especially ones in the emerging stages of their career. “This will make theater older and whiter,” Ghosh says. “People with less stability and less privilege will not be able to wait 12, 24 months for work to come back. And I think it’ll have a majorly negative impact on who will be able to stay in this industry.”\u003c/p>\n\u003cfigure id=\"attachment_13887150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg\" alt=\"A stage actor puts on a crown under dramatic lighting. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akaina Ghosh in Ragged Wing Ensemble’s production of Shakespeare’s ’The Winter’s Tale.’ \u003ccite>(Serena Morelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the current financial losses, some professionals who’ve been in theater for decades are cautiously optimistic about artists’ ability to weather the storm. When California’s shelter-in-place orders began six months ago, longtime artist manager \u003ca href=\"https://www.circuitnetwork.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nola Mariano\u003c/a> contacted her clients and told them to come up with contingency plans for the next two years. Some of her younger clients moved in with family to save money, and others came up with diversified career plans that don’t completely rely on performance.\u003c/p>\n\u003cp>“My thinking on that had to do with not only the pandemic itself, but the effect the pandemic was going to have on the economy and usual audience that goes to these events,” Mariano says.\u003c/p>\n\u003cp>Despite the uncertainty, Mariano takes a glass-half-full view of how theater will adapt. She points to actor, director and playwright Kristina Wong, who turned a canceled tour of her one-woman show, \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kristina Wong for Public Office\u003c/em>\u003c/a>, into a “touring” virtual, interactive performance from her living room. Various venues and universities have hosted the show virtually as a ticketed livestream, with the next edition coming to \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>’s platform on Oct. 14. And similarly, the Berkeley Repertory Theater presented Richard Montoya, Ricardo Salinas and Herbert Siguenza’s political satire, \u003cem>Culture Clash (Still) in America\u003c/em>, as a two-week streaming event on the platform BroadwayHD.\u003c/p>\n\u003cp>It’s a hard time for theater right now. But then again, when hasn’t it been? As Mariano puts it, “It’s a bumpy ride we’re all on, but it seems like we’ll come out on the other side as community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before the pandemic, \u003ca href=\"https://www.ninasawant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nina Sawant\u003c/a> made a living hanging from hoops, contorting into improbable shapes and shimmering in sequins under neon lights.\u003c/p>\n\u003cp>Now, the Oakland circus artist and aerialist has had her work dramatically reduced to a few sporadic online shows. With the Bay Area’s shelter-in-place orders dragging into their seventh month, Sawant and theater, circus, dance and other performing artists are finding themselves trying to adapt their career plans as their industry lingers in an indefinite hiatus.\u003c/p>\n\u003cp>“There’s a hope that there will be a sort of a renaissance and people will be hungry to see theater shows and support the arts,” she says, “but I and all the people I know are taking it day by day and building up our additional skill sets so that, if the time comes, we have something to turn to if we’re not able to make a living anymore doing the things we’ve built our lives around.”\u003c/p>\n\u003cp>Last week, San Francisco moved to \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">allow entertainment\u003c/a> in outdoor dining areas and other city-designated Shared Spaces, but it’s unclear how advantageous the program will be for the theater industry. And for Sawant, the transition back to a booming circus arts business is a lot more complicated than shows reopening. In addition to theater performances, her more lucrative gigs at private parties for tech companies such as Apple and Google are also indefinitely on hold.\u003c/p>\n\u003cfigure id=\"attachment_13887156\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg\" alt=\"An aerialist hangs from silk while pouring champagne.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Pre-COVID-Aerial-champagne-pour-for-corporate-holiday-party-768x1154.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before COVID-19, Nina Sawant made a large portion of her income performing at private parties for large tech companies. \u003ccite>(Courtesy of Nina Sawant)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though some tech giants are doing well during the pandemic, their company culture is changing. Twitter is subleasing some of its Market Street office space; Google and Facebook told employees they’ll be working from home long term. Sawant wonders how long it’ll be before companies require their workers to show up in the same physical location, let alone budget for a huge party.\u003c/p>\n\u003cp>“We really at this point don’t know how long it’ll take for things to come back and what it’s going to look like when they do,” she says.\u003c/p>\n\u003cp>Careers in the performing arts have always been precarious. But the pandemic and its attendant uncertainty are teaching many artists valuable lessons in diversifying their skills in order to weather the storm. Sawant started two Patreon accounts: \u003ca href=\"https://www.patreon.com/thecircushustle\" target=\"_blank\" rel=\"noopener noreferrer\">one\u003c/a> where she gives business and career advice to circus artists, and \u003ca href=\"https://www.patreon.com/ninauiu\" target=\"_blank\" rel=\"noopener noreferrer\">another\u003c/a> where fans can watch her perform. And she’s discovered a new passion for film directing and video editing. For \u003ca href=\"http://www.vespertinecircus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vespertine Circus\u003c/a>, a Bay Area troupe that produces online shows, she edits music video-like clips of circus acts that are later played at ticketed livestreams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“None of it is on Zoom, so it doesn’t feel like you’re on a terrible work call,” she says of Vespertine’s online shows, adding that its online platform also allows viewers to socialize. “And the production value is a lot higher.”\u003c/p>\n\u003cp>While some artists find success in embracing technology, others are focusing on more behind-the-scenes aspects of their craft. That’s the case for \u003ca href=\"http://www.akainaghosh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Akaina Ghosh\u003c/a>, a stage actor who has had a few virtual performances during the pandemic but has mostly turned their focus towards writing and teaching. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My biggest challenge has been sitting with the reality that my career is postponed indefinitely,” says Ghosh, who was in rehearsal for a play at the \u003ca href=\"https://cuttingball.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cutting Ball Theater\u003c/a> when theaters closed down. “It’s hard to feel creative when my profession may not come back full-swing for a year or two.”\u003c/p>\n\u003cp>While some artists have received unemployment or emergency COVID-19 relief grants, Ghosh has been living off savings and freelance gigs. Those have including conducting interviews with other theater professionals for the \u003ca href=\"http://www.sfshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Shakespeare Festival\u003c/a>’s website and working as a teacher assistant for a sketch comedy writing course from \u003ca href=\"https://www.killingmylobster.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Killing My Lobster\u003c/a>. Though these jobs have generated some income, Ghosh still yearns for a steadier paycheck and has looked into other fields such as broadcasting. They say their peers are doing the same.\u003c/p>\n\u003cp>“I have friends that are voice teachers, or acting teachers, or things like that,” the artist adds. “But ultimately, we’re seeing this dip in the theater industry that is for the foreseeable future, and they want to get out while they still can.”\u003c/p>\n\u003cp>Ultimately, Ghosh worries that the pandemic will make theater even less accessible to artists of color, especially ones in the emerging stages of their career. “This will make theater older and whiter,” Ghosh says. “People with less stability and less privilege will not be able to wait 12, 24 months for work to come back. And I think it’ll have a majorly negative impact on who will be able to stay in this industry.”\u003c/p>\n\u003cfigure id=\"attachment_13887150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg\" alt=\"A stage actor puts on a crown under dramatic lighting. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/30179913930_13d0bdc8f4_o.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Akaina Ghosh in Ragged Wing Ensemble’s production of Shakespeare’s ’The Winter’s Tale.’ \u003ccite>(Serena Morelli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the current financial losses, some professionals who’ve been in theater for decades are cautiously optimistic about artists’ ability to weather the storm. When California’s shelter-in-place orders began six months ago, longtime artist manager \u003ca href=\"https://www.circuitnetwork.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nola Mariano\u003c/a> contacted her clients and told them to come up with contingency plans for the next two years. Some of her younger clients moved in with family to save money, and others came up with diversified career plans that don’t completely rely on performance.\u003c/p>\n\u003cp>“My thinking on that had to do with not only the pandemic itself, but the effect the pandemic was going to have on the economy and usual audience that goes to these events,” Mariano says.\u003c/p>\n\u003cp>Despite the uncertainty, Mariano takes a glass-half-full view of how theater will adapt. She points to actor, director and playwright Kristina Wong, who turned a canceled tour of her one-woman show, \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kristina Wong for Public Office\u003c/em>\u003c/a>, into a “touring” virtual, interactive performance from her living room. Various venues and universities have hosted the show virtually as a ticketed livestream, with the next edition coming to \u003ca href=\"https://artpower.ucsd.edu/event/kristina-wong-for-public-office/\" target=\"_blank\" rel=\"noopener noreferrer\">UC San Diego\u003c/a>’s platform on Oct. 14. And similarly, the Berkeley Repertory Theater presented Richard Montoya, Ricardo Salinas and Herbert Siguenza’s political satire, \u003cem>Culture Clash (Still) in America\u003c/em>, as a two-week streaming event on the platform BroadwayHD.\u003c/p>\n\u003cp>It’s a hard time for theater right now. But then again, when hasn’t it been? As Mariano puts it, “It’s a bumpy ride we’re all on, but it seems like we’ll come out on the other side as community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Francisco Moves Forward with Outdoor Live Music, Entertainment in Shared Spaces",
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"content": "\u003cp>San Francisco’s live music scene has technically been on pause since the start of shelter-in-place orders in March, but unofficial concerts and DJ sets have popped up all over the city in parks, beaches and street corners.\u003c/p>\n\u003cp>Over the past several weeks, musicians, theater artists and event presenters have \u003ca href=\"https://www.kqed.org/arts/13885038/sf-venue-owners-musicians-ask-city-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">asked local government\u003c/a> to allow for socially distanced, outdoor performances, arguing that regulated shows would be safer than guerilla-style ones with no rules or guidelines. Not to mention it would provide an economic boost for an industry that’s completely ground to a halt during the pandemic, during which many artists and businesses \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">haven’t qualified for government aid\u003c/a>.\u003c/p>\n\u003cp>Today, Mayor London Breed’s office announced a new permit through the Entertainment Commission that aims to allow live, outdoor music and entertainment on a small scale. The \u003ca href=\"http://sf.gov/jam\" target=\"_blank\" rel=\"noopener noreferrer\">JAM (Just Add Music) permit\u003c/a> offers businesses a way to book DJs, live music (without singing or wind instruments), dance, theater, comedy or film screenings with amplified sound in the city’s existing \u003ca href=\"https://sf.gov/shared-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">Shared Spaces\u003c/a> locations. Those include outdoor dining areas, farmers’ markets, outdoor fitness classes and drive-in theaters that operate in accordance to the city’s social distancing rules, mask mandate and other public health guidelines.\u003c/p>\n\u003cp>The new permit, whose \u003ca href=\"http://sf.gov/jam\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> is now live, marks the first time San Francisco is formally incorporating live entertainment into the current phase of its reopening plan. With the free permit, restaurants can book DJs in their patios and parklets while avoiding the fees and lengthy, bureaucratic process they would have had to undertake to allow ongoing entertainment or one-time special events before COVID-19. And, perhaps more crucially, music venues and theaters whose income streams have halted now have a pathway to resuming live events. [aside postid='arts_13886828']\u003c/p>\n\u003cp>For a music venue to participate, it can enroll in the city’s \u003ca href=\"https://sf.gov/shared-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">Shared Spaces program\u003c/a>—which opens parklets, sidewalks, parking lots and city streets for socially distanced, outdoor dining—or have access to other authorized outdoor property, such as a patio or rooftop. (The venue must also have a kitchen or partnership with a neighboring restaurant.) Once those requirements are met, the venue can put on a ticketed event under two hours long, as long as food is served.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[The entertainment industry] is not just an afterthought. We can’t be. We have to be part of this right now,” says San Francisco Entertainment Commission Executive Director Maggie Weiland. The JAM permit arrives after the latest wave of reopenings in San Francisco, which allowed indoor hair salons, gyms, museums (with limited capacity) and drive-in movie screenings to begin operating last week.\u003c/p>\n\u003cp>“I think our small, outdoor performances that will be permitted through this program, and in accordance with health rules, are different from large, indoor performances,” says Weiland. “Until now, those venues have only been contemplated in phase four of the reopening plan.” (Phase four would signal the end of shelter-in-place orders, and require the availability of COVID-19 therapeutics or a vaccine.)\u003c/p>\n\u003cp>In August, Fred Barnes, co-founder of advocacy group 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>, piloted a socially distanced, outdoor concert in the parking lot of Mission district concert venue The Chapel, where he is the general manager. The ticketed show featured only instrumental music. Masked diners at distanced tables listened to a band as food was served. For Barnes and his industry peers, the event’s success is a hopeful sign that safe concerts are possible, and that other businesses can follow suit. [aside postid='arts_13885038']\u003c/p>\n\u003cp>“I think one of the things that was really important about that show we did was that a lot of people remarked afterwards that it was the safest spot in the Mission in terms of the public health ordinances really being controlled by security, with temperature taking and all the things that need to be done,” he says.\u003c/p>\n\u003cp>Deanna Sison, owner of the bar \u003ca href=\"http://www.victoryhallsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Victory Hall\u003c/a> and adjoining restaurant \u003ca href=\"http://www.littleskilletsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Little Skillet\u003c/a>, says that the opportunity to offer entertainment will be a boon for businesses like hers. Her street, near Oracle Park, has seen a complete drop off in foot traffic since baseball games aren’t currently open to fans. Through the Shared Spaces program, she has an entire alleyway to seat customers, and she hopes live music can entice them.\u003c/p>\n\u003cp>“We used to host neighborhood block parties,” she says. “In the future, we’re trying to bring back a version of that and doing that as safely as we possibly can.”\u003c/p>\n\u003cp>North Beach bar \u003ca href=\"http://vesuvio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vesuvio\u003c/a>, open since 1948, plans to partner with a neighboring restaurant to operate a Shared Space with live music in the historic Jack Kerouac Alley. Owner Janet Clyde says the JAM permit offers an easier way of doing things for her business, which doesn’t have an entertainment license and previously had to obtain special event permits anytime it wanted to book live music. “Since we’re in the COVID times and our capacity is limited, it’s going to help us be sustainable in some fashion,” she says. [aside postid='arts_13883952']\u003c/p>\n\u003cp>Clyde says that though Vesuvio has remained closed for the past six months, she’s committed to paying musicians. So is Aaron Paul, co-owner of Russian Hill cocktail bar and cafe \u003ca href=\"https://www.macondraysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Macondray\u003c/a>, who says that even though his revenue is only 30% of what it used to be, artist compensation is one place where he can’t cut costs. “That’s really important and something I’m proud to be able to do,” he says, emphasizing the importance of live music. “It’s a quality thing. People know when they’re listening to a Spotify playlist.”\u003c/p>\n\u003cp>In addition to aiding small businesses in their economic recovery, the Entertainment Commission’s Weiland hopes the JAM program will also offer San Francisco spiritual nourishment, especially after the last few turbulent weeks of wildfire-induced smoke amid the pandemic.\u003c/p>\n\u003cp>“Music is medicine. Art, culture and entertainment are healing,” Weiland says. “And I think our collective community needs this.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to clarify that businesses with Shared Spaces permits or access to other types of authorized outdoor property qualify for the JAM program. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s live music scene has technically been on pause since the start of shelter-in-place orders in March, but unofficial concerts and DJ sets have popped up all over the city in parks, beaches and street corners.\u003c/p>\n\u003cp>Over the past several weeks, musicians, theater artists and event presenters have \u003ca href=\"https://www.kqed.org/arts/13885038/sf-venue-owners-musicians-ask-city-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">asked local government\u003c/a> to allow for socially distanced, outdoor performances, arguing that regulated shows would be safer than guerilla-style ones with no rules or guidelines. Not to mention it would provide an economic boost for an industry that’s completely ground to a halt during the pandemic, during which many artists and businesses \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">haven’t qualified for government aid\u003c/a>.\u003c/p>\n\u003cp>Today, Mayor London Breed’s office announced a new permit through the Entertainment Commission that aims to allow live, outdoor music and entertainment on a small scale. The \u003ca href=\"http://sf.gov/jam\" target=\"_blank\" rel=\"noopener noreferrer\">JAM (Just Add Music) permit\u003c/a> offers businesses a way to book DJs, live music (without singing or wind instruments), dance, theater, comedy or film screenings with amplified sound in the city’s existing \u003ca href=\"https://sf.gov/shared-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">Shared Spaces\u003c/a> locations. Those include outdoor dining areas, farmers’ markets, outdoor fitness classes and drive-in theaters that operate in accordance to the city’s social distancing rules, mask mandate and other public health guidelines.\u003c/p>\n\u003cp>The new permit, whose \u003ca href=\"http://sf.gov/jam\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> is now live, marks the first time San Francisco is formally incorporating live entertainment into the current phase of its reopening plan. With the free permit, restaurants can book DJs in their patios and parklets while avoiding the fees and lengthy, bureaucratic process they would have had to undertake to allow ongoing entertainment or one-time special events before COVID-19. And, perhaps more crucially, music venues and theaters whose income streams have halted now have a pathway to resuming live events. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a music venue to participate, it can enroll in the city’s \u003ca href=\"https://sf.gov/shared-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">Shared Spaces program\u003c/a>—which opens parklets, sidewalks, parking lots and city streets for socially distanced, outdoor dining—or have access to other authorized outdoor property, such as a patio or rooftop. (The venue must also have a kitchen or partnership with a neighboring restaurant.) Once those requirements are met, the venue can put on a ticketed event under two hours long, as long as food is served.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[The entertainment industry] is not just an afterthought. We can’t be. We have to be part of this right now,” says San Francisco Entertainment Commission Executive Director Maggie Weiland. The JAM permit arrives after the latest wave of reopenings in San Francisco, which allowed indoor hair salons, gyms, museums (with limited capacity) and drive-in movie screenings to begin operating last week.\u003c/p>\n\u003cp>“I think our small, outdoor performances that will be permitted through this program, and in accordance with health rules, are different from large, indoor performances,” says Weiland. “Until now, those venues have only been contemplated in phase four of the reopening plan.” (Phase four would signal the end of shelter-in-place orders, and require the availability of COVID-19 therapeutics or a vaccine.)\u003c/p>\n\u003cp>In August, Fred Barnes, co-founder of advocacy group 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>, piloted a socially distanced, outdoor concert in the parking lot of Mission district concert venue The Chapel, where he is the general manager. The ticketed show featured only instrumental music. Masked diners at distanced tables listened to a band as food was served. For Barnes and his industry peers, the event’s success is a hopeful sign that safe concerts are possible, and that other businesses can follow suit. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think one of the things that was really important about that show we did was that a lot of people remarked afterwards that it was the safest spot in the Mission in terms of the public health ordinances really being controlled by security, with temperature taking and all the things that need to be done,” he says.\u003c/p>\n\u003cp>Deanna Sison, owner of the bar \u003ca href=\"http://www.victoryhallsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Victory Hall\u003c/a> and adjoining restaurant \u003ca href=\"http://www.littleskilletsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Little Skillet\u003c/a>, says that the opportunity to offer entertainment will be a boon for businesses like hers. Her street, near Oracle Park, has seen a complete drop off in foot traffic since baseball games aren’t currently open to fans. Through the Shared Spaces program, she has an entire alleyway to seat customers, and she hopes live music can entice them.\u003c/p>\n\u003cp>“We used to host neighborhood block parties,” she says. “In the future, we’re trying to bring back a version of that and doing that as safely as we possibly can.”\u003c/p>\n\u003cp>North Beach bar \u003ca href=\"http://vesuvio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vesuvio\u003c/a>, open since 1948, plans to partner with a neighboring restaurant to operate a Shared Space with live music in the historic Jack Kerouac Alley. Owner Janet Clyde says the JAM permit offers an easier way of doing things for her business, which doesn’t have an entertainment license and previously had to obtain special event permits anytime it wanted to book live music. “Since we’re in the COVID times and our capacity is limited, it’s going to help us be sustainable in some fashion,” she says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clyde says that though Vesuvio has remained closed for the past six months, she’s committed to paying musicians. So is Aaron Paul, co-owner of Russian Hill cocktail bar and cafe \u003ca href=\"https://www.macondraysf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Macondray\u003c/a>, who says that even though his revenue is only 30% of what it used to be, artist compensation is one place where he can’t cut costs. “That’s really important and something I’m proud to be able to do,” he says, emphasizing the importance of live music. “It’s a quality thing. People know when they’re listening to a Spotify playlist.”\u003c/p>\n\u003cp>In addition to aiding small businesses in their economic recovery, the Entertainment Commission’s Weiland hopes the JAM program will also offer San Francisco spiritual nourishment, especially after the last few turbulent weeks of wildfire-induced smoke amid the pandemic.\u003c/p>\n\u003cp>“Music is medicine. Art, culture and entertainment are healing,” Weiland says. “And I think our collective community needs this.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"excerpt": "How would you go about explaining designer masks, red skies, social distancing and 'Tiger King' to yourself last year?",
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"content": "\u003cp>\u003ca href=\"http://www.hardlystrictlybluegrass.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Hardly Strictly Bluegrass\u003c/a> would have been celebrating its 20th anniversary this year in Golden Gate Park, but because of the state of the world, the roots music festival is going online, with a virtual festival that combines new performance footage, archival videos and tributes from fans. Called “Let the Music Play On,” the livestreamed concert will feature Emmylou Harris, Buddy Miller, Steve Earle & the Halfgrass Dukes (featuring Tim O’Brien and Dennis Crouch), The War and Treaty, Yola, Allison Brown, John Doe and Amythyst Kiah. The rest of the lineup and details for where to watch will be announced in coming weeks. \u003c/p>\n\u003cp>As it ramps up for the Oct. 2–4 online concert, Hardly Strictly is supporting the local artist community through its \u003ca href=\"http://www.hardlystrictlybluegrass.com/2020/music-relief/\" rel=\"noopener noreferrer\" target=\"_blank\">COVID-19 relief fund\u003c/a>. The grant application is open through Sept. 14, and American roots musicians living in San Francisco, Alameda, Contra Costa, Marin, San Mateo or Sonoma counties are welcome to apply. Hardly Strictly plans to distribute $1.5 million through one-time grants of $2,000, and artists are free to use the money as they please to cover expenses while shows are canceled during the pandemic. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>\u003cem>V Unbeatable is a Mumbai-based acrobatic dance troupe whose members range in age from 12 to 28 and come from the city’s slums. \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/04/18/834284156/dancing-their-way-from-the-slums-of-mumbai-to-america-s-got-talent-trophy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>NPR wrote about them\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> after they won \u003c/em>\u003c/strong>\u003cstrong>America’s Got Talent: The Champions\u003c/strong>\u003cstrong>\u003cem> this February. They’d hoped the win would help improve the financial situation of their families and open doors to new opportunities. But the pandemic was declared just weeks after their triumphant return home. So what are they doing now?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The dancers were basking in the glory of their spectacular victory when India went under a strict coronavirus lockdown in late March. Daily rehearsals—where all two dozen would gather to practice acrobatic moves together—were suspended. The shows where they were scheduled to perform were canceled, so their source of income dried up. They couldn’t even celebrate properly, says the group’s 28-year-old choreographer Swapnil Bhoir.\u003c/p>\n\u003cp>“What was supposed to be the best time of our lives became the toughest time of our lives,” says Bhoir.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9aES5hKpoYo\u003c/p>\n\u003cp>India is recording around 80,000 fresh COVID-19 infections daily—the highest single-day tally in the world. Its total caseload of about 4 million cases is the third highest in the world behind the U.S. and Brazil.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mumbai, India’s financial capital and the dancers’ hometown, has been hit particularly hard. The virus spread quickly through the city’s slums, where physical distancing is next to impossible and sanitation is scarce. Mumbai has \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/mybmc/status/1301181868566614016__;!!Iwwt!Gfoo5DbTYCjQ41sv_Aj9ghPK2T8MPPS576P_UWYXkaplPe1iUrwJ-zNhNyYP%24\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> nearly 150,000 confirmed COVID-19 cases and more than 7000 deaths as of 2 September.\u003c/p>\n\u003cp>Most of the dancers and their families have been confined to their cramped, mostly one-room homes in the slums of northern Mumbai. No one from the team has tested positive yet, says Bhoir.\u003c/p>\n\u003cp>The nationwide lockdown has now been partially eased but large gatherings are still banned and the dancers are not able to practice the human pyramids and group gymnastics that had wowed fans around the world. Suburban trains in Mumbai are also only running for essential workers so the dancers can’t travel for rehearsals.\u003c/p>\n\u003cp>Bhoir has spent the last few months fielding anxious calls from his younger teammates. “They keep asking me, when will things go back to normal? When can we start dancing again?” says Bhoir.\u003c/p>\n\u003cp>To keep them engaged, Bhoir and other senior members of the team have been giving the dancers weekly quizzes about the history of hip-hop. Some of them have been making and uploading \u003ca href=\"https://www.instagram.com/p/CBqSZDPAXmC/?igshid=1kim21e8uckg5\" target=\"_blank\" rel=\"noopener noreferrer\">short dance videos\u003c/a> on social media. It keeps them busy, says Bhoir, and hopefully away from negative thoughts.\u003c/p>\n\u003cp>https://www.instagram.com/p/CBqSZDPAXmC/\u003c/p>\n\u003cp>Meanwhile, there’s plenty of reason for the dancers to worry. When India went under lockdown and shut down its economy, tens of millions of people lost their jobs. Poor day laborers—including many of the dancers’ parents—were hit the hardest.\u003c/p>\n\u003cp>“My father is a tailor and my mother sells snacks outside the railway station but because of the lockdown both of them have lost their jobs,” 17-year-old dancer Nikhil Patlekar says in a \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/v_unbeatable/status/1267122156233580551__;!!Iwwt!EvUmLdnGQH-iJnfxMFsPcJenPKkDKjpKK1EkJ1YGwAknE-X7dQaRoqMTO4zm%24\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a> posted by the group in May. “My family’s situation is very bad.”\u003c/p>\n\u003cp>“My nights are sleepless, I cry. I’m scared that all our hard work over the years might go down the drain,” the group’s 28-year-old co-founder Om Prakash Chauhan says in the video.\u003c/p>\n\u003cp>One of the dancers, 18-year-old Suraj Soni, is selling vegetables on the streets of Mumbai to make ends meet. Others have moved back to their villages with their families.\u003c/p>\n\u003cp>“Even after becoming an international artist, there’s been no progress. It’s back to square one,” laments Bhoir.\u003c/p>\n\u003cp>V Unbeatable is no stranger to adversity. In 2015, one of their co-founders, Vikas Gupta, suffered a fatal accident while practicing a stunt. The dancers were devastated but refused to give up. They pay homage to Gupta whenever they perform. Their costumes have “Vikas” written on the back.\u003c/p>\n\u003cp>The group bounced back after that tragedy, and Bhoir is confident they’ll bounce back after this one too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You may win or achieve something great but that doesn’t mean your life is set,” says Bhoir. “Sometimes you have to start from zero again, and we’re prepared to do that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whatever+Happened+To+...+V+Unbeatable%2C+Mumbai+Dancers+Who+Won+%27America%27s+Got+Talent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>V Unbeatable is a Mumbai-based acrobatic dance troupe whose members range in age from 12 to 28 and come from the city’s slums. \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/04/18/834284156/dancing-their-way-from-the-slums-of-mumbai-to-america-s-got-talent-trophy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>NPR wrote about them\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> after they won \u003c/em>\u003c/strong>\u003cstrong>America’s Got Talent: The Champions\u003c/strong>\u003cstrong>\u003cem> this February. They’d hoped the win would help improve the financial situation of their families and open doors to new opportunities. But the pandemic was declared just weeks after their triumphant return home. So what are they doing now?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The dancers were basking in the glory of their spectacular victory when India went under a strict coronavirus lockdown in late March. Daily rehearsals—where all two dozen would gather to practice acrobatic moves together—were suspended. The shows where they were scheduled to perform were canceled, so their source of income dried up. They couldn’t even celebrate properly, says the group’s 28-year-old choreographer Swapnil Bhoir.\u003c/p>\n\u003cp>“What was supposed to be the best time of our lives became the toughest time of our lives,” says Bhoir.\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/9aES5hKpoYo'\n title='//www.youtube.com/embed/9aES5hKpoYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>India is recording around 80,000 fresh COVID-19 infections daily—the highest single-day tally in the world. Its total caseload of about 4 million cases is the third highest in the world behind the U.S. and Brazil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mumbai, India’s financial capital and the dancers’ hometown, has been hit particularly hard. The virus spread quickly through the city’s slums, where physical distancing is next to impossible and sanitation is scarce. Mumbai has \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/mybmc/status/1301181868566614016__;!!Iwwt!Gfoo5DbTYCjQ41sv_Aj9ghPK2T8MPPS576P_UWYXkaplPe1iUrwJ-zNhNyYP%24\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> nearly 150,000 confirmed COVID-19 cases and more than 7000 deaths as of 2 September.\u003c/p>\n\u003cp>Most of the dancers and their families have been confined to their cramped, mostly one-room homes in the slums of northern Mumbai. No one from the team has tested positive yet, says Bhoir.\u003c/p>\n\u003cp>The nationwide lockdown has now been partially eased but large gatherings are still banned and the dancers are not able to practice the human pyramids and group gymnastics that had wowed fans around the world. Suburban trains in Mumbai are also only running for essential workers so the dancers can’t travel for rehearsals.\u003c/p>\n\u003cp>Bhoir has spent the last few months fielding anxious calls from his younger teammates. “They keep asking me, when will things go back to normal? When can we start dancing again?” says Bhoir.\u003c/p>\n\u003cp>To keep them engaged, Bhoir and other senior members of the team have been giving the dancers weekly quizzes about the history of hip-hop. Some of them have been making and uploading \u003ca href=\"https://www.instagram.com/p/CBqSZDPAXmC/?igshid=1kim21e8uckg5\" target=\"_blank\" rel=\"noopener noreferrer\">short dance videos\u003c/a> on social media. It keeps them busy, says Bhoir, and hopefully away from negative thoughts.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Meanwhile, there’s plenty of reason for the dancers to worry. When India went under lockdown and shut down its economy, tens of millions of people lost their jobs. Poor day laborers—including many of the dancers’ parents—were hit the hardest.\u003c/p>\n\u003cp>“My father is a tailor and my mother sells snacks outside the railway station but because of the lockdown both of them have lost their jobs,” 17-year-old dancer Nikhil Patlekar says in a \u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/v_unbeatable/status/1267122156233580551__;!!Iwwt!EvUmLdnGQH-iJnfxMFsPcJenPKkDKjpKK1EkJ1YGwAknE-X7dQaRoqMTO4zm%24\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a> posted by the group in May. “My family’s situation is very bad.”\u003c/p>\n\u003cp>“My nights are sleepless, I cry. I’m scared that all our hard work over the years might go down the drain,” the group’s 28-year-old co-founder Om Prakash Chauhan says in the video.\u003c/p>\n\u003cp>One of the dancers, 18-year-old Suraj Soni, is selling vegetables on the streets of Mumbai to make ends meet. Others have moved back to their villages with their families.\u003c/p>\n\u003cp>“Even after becoming an international artist, there’s been no progress. It’s back to square one,” laments Bhoir.\u003c/p>\n\u003cp>V Unbeatable is no stranger to adversity. In 2015, one of their co-founders, Vikas Gupta, suffered a fatal accident while practicing a stunt. The dancers were devastated but refused to give up. They pay homage to Gupta whenever they perform. Their costumes have “Vikas” written on the back.\u003c/p>\n\u003cp>The group bounced back after that tragedy, and Bhoir is confident they’ll bounce back after this one too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You may win or achieve something great but that doesn’t mean your life is set,” says Bhoir. “Sometimes you have to start from zero again, and we’re prepared to do that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whatever+Happened+To+...+V+Unbeatable%2C+Mumbai+Dancers+Who+Won+%27America%27s+Got+Talent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400;\">2020 has been \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">a year\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> so far. A pandemic with a growing number of lives lost. Record unemployment. Protests against systemic racism as police violence against Black people continues. A polarizing, high-stakes election. Wildfires. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The world is a lot to bear right now, and we’re all figuring out how to feel all the different feelings. One way we’re coping with the stress and uncertainty is with music. When \u003ca href=\"https://www.instagram.com/dnice/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJ D-Nice\u003c/a> hosted Club Quarantine in the early days of the pandemic, he showed that a little music and dancing in our homes can go a long way in lifting spirits when we’re adapting to a new normal. Hospitals have been using music to \u003c/span>\u003ca href=\"https://www.nytimes.com/2020/04/23/arts/music/coronavirus-hospital-songs.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">celebrate patients recovering\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> from COVID-19. \u003c/span>\u003ca href=\"https://www.eastbaytimes.com/2020/08/20/pandemic-porch-concerts-bring-joyful-music-to-the-silent-streets-of-alameda/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Neighborhood musicians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> are reviving the joy of live music experiences in small, socially-distant ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">And then there are our personal playlists. For me, the voices of \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=hS-Y8dYD-Bg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Beautiful Chorus\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> have been saving my mornings—the time of day when my anxiety is most likely to take hold. Their positive mantras and harmonies are a balm for any feelings of fear and isolation, sometimes reminding me to smile or inducing a good, needed cry. And when I need to unwind, Juls and Sango’s “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=xroVhGdeuu4\">\u003cspan style=\"font-weight: 400;\">Ritmo Coco\u003c/span>\u003c/a>”\u003cspan style=\"font-weight: 400;\"> is there to get my body moving.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Now it’s your turn: what songs have been getting you through 2020? [aside postid='arts_13881399']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Is there a song or artist that’s helped you cope with anxiety or loss? A go-to track that helps motivate you for another day of Zoom meetings or Zoom “school”? A song that’s become your soundtrack for biking or running off some steam? Or that signals the start of your personal happy hour at home? \u003c/span>\u003cspan style=\"font-weight: 400;\">\u003ca href=\"https://artskqed.typeform.com/to/qrLrDkuO\" target=\"_blank\" rel=\"noopener noreferrer\">Share it with us!\u003c/a> You and your song pick could be featured on a Friday episode of \u003c/span>\u003ca href=\"https://www.kqed.org/forum/2010101879413/the-music-getting-you-through-2020\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">KQED Forum\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and on KQED’s “The Music Getting Us Through 2020” Spotify playlist (below.)\u003c/span>\u003c/p>\n\u003cdiv class=\"typeform-widget\" style=\"width: 100%; height: 500px;\" data-url=\"https://form.typeform.com/to/qrLrDkuO\">\u003c/div>\n\u003cp>\u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2YLAONtgKAagophfKJnwOJ\" width=\"300\" height=\"380\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">2020 has been \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">a year\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\"> so far. A pandemic with a growing number of lives lost. Record unemployment. Protests against systemic racism as police violence against Black people continues. A polarizing, high-stakes election. Wildfires. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The world is a lot to bear right now, and we’re all figuring out how to feel all the different feelings. One way we’re coping with the stress and uncertainty is with music. When \u003ca href=\"https://www.instagram.com/dnice/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJ D-Nice\u003c/a> hosted Club Quarantine in the early days of the pandemic, he showed that a little music and dancing in our homes can go a long way in lifting spirits when we’re adapting to a new normal. Hospitals have been using music to \u003c/span>\u003ca href=\"https://www.nytimes.com/2020/04/23/arts/music/coronavirus-hospital-songs.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">celebrate patients recovering\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> from COVID-19. \u003c/span>\u003ca href=\"https://www.eastbaytimes.com/2020/08/20/pandemic-porch-concerts-bring-joyful-music-to-the-silent-streets-of-alameda/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Neighborhood musicians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> are reviving the joy of live music experiences in small, socially-distant ways. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">And then there are our personal playlists. For me, the voices of \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=hS-Y8dYD-Bg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Beautiful Chorus\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> have been saving my mornings—the time of day when my anxiety is most likely to take hold. Their positive mantras and harmonies are a balm for any feelings of fear and isolation, sometimes reminding me to smile or inducing a good, needed cry. And when I need to unwind, Juls and Sango’s “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=xroVhGdeuu4\">\u003cspan style=\"font-weight: 400;\">Ritmo Coco\u003c/span>\u003c/a>”\u003cspan style=\"font-weight: 400;\"> is there to get my body moving.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Now it’s your turn: what songs have been getting you through 2020? \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;\">Is there a song or artist that’s helped you cope with anxiety or loss? A go-to track that helps motivate you for another day of Zoom meetings or Zoom “school”? A song that’s become your soundtrack for biking or running off some steam? Or that signals the start of your personal happy hour at home? \u003c/span>\u003cspan style=\"font-weight: 400;\">\u003ca href=\"https://artskqed.typeform.com/to/qrLrDkuO\" target=\"_blank\" rel=\"noopener noreferrer\">Share it with us!\u003c/a> You and your song pick could be featured on a Friday episode of \u003c/span>\u003ca href=\"https://www.kqed.org/forum/2010101879413/the-music-getting-you-through-2020\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">KQED Forum\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and on KQED’s “The Music Getting Us Through 2020” Spotify playlist (below.)\u003c/span>\u003c/p>\n\u003cdiv class=\"typeform-widget\" style=\"width: 100%; height: 500px;\" data-url=\"https://form.typeform.com/to/qrLrDkuO\">\u003c/div>\n\u003cp>\u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>y drive down Interstate 80, from Sacramento to Oakland, takes me through the intersection of three major issues plaguing California: COVID-19, global warming and mass incarceration.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Cows near Davis eat grass sprinkled with ash. Hillsides along the highway in Vacaville are in burnt-toast status. From the Hunter Hill rest area, a hilltop that overlooks a portion of Vallejo and the Bay beyond it, smoke from other fires hangs around the region.\u003c/p>\n\u003cp>In the sky above, the sun fights to shine through the layer of haze; the color of rage reflects off the water. It’s now the \u003cem>burgundy Bay Area\u003c/em>.\u003c/p>\n\u003cp>It’s August again in California: wildfire season, albeit a bit earlier than past years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last week \u003ca href=\"https://www.kqed.org/news/11833586/photos-rare-august-thunderstorm-sees-lightning-streak-across-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">a lightning storm\u003c/a> with a record amount of ground strikes passed through Northern California, kicking off \u003ca href=\"https://www.kqed.org/news/11834647/fires-break-state-history-records-as-blazes-and-smoke-continue\" target=\"_blank\" rel=\"noopener noreferrer\">numerous wildfires\u003c/a>. Over the weekend, Governor Gavin Newsom reported nearly 600 fires burning in the state.\u003c/p>\n\u003cp>Two of those fires are \u003ca href=\"https://twitter.com/CAL_FIRE/status/1297258054136651776?s=20\">the largest the state has ever seen\u003c/a>—a statistic we’ve heard almost every year for the past four years.\u003c/p>\n\u003cfigure id=\"attachment_13885226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Sun.Wildfire-800x600.jpg\" alt=\"The sun turns crimson red in Sonoma County due to smoke from the LNU Lightning Complex fires.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sun turns crimson red in Sonoma County due to smoke from the LNU Lightning Complex fires. \u003ccite>(Robert Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ear Santa Cruz, \u003ca href=\"https://www.mercurynews.com/2020/08/20/historic-buildings-destroyed-at-big-basin-redwoods-state-park/\">fires tore through Big Basin\u003c/a> state park, ravaging the campgrounds, buildings and some enormous redwoods that have stood since before Christ walked the earth. The \u003ca href=\"https://www.fire.ca.gov/incidents/2020/8/17/czu-lightning-complex-including-warnella-fire/\" target=\"_blank\" rel=\"noopener noreferrer\">CZU Lightning Complex fire\u003c/a> has consumed over 70,000 acres near the northern portion of Santa Cruz County, and is only 8% contained.\u003c/p>\n\u003cp>In the far eastern reaches of Alameda County, the \u003ca href=\"https://www.fire.ca.gov/incidents/2020/8/18/scu-lightning-complex/\" target=\"_blank\" rel=\"noopener noreferrer\">SCU Lightning Complex fire\u003c/a>, the culmination of 20 individual fires, has wiped out over 340,000 acres, and is only 10% contained.\u003c/p>\n\u003cp>Along the northern coast, in the town of Guerneville, a place that knows both wildfires \u003ca href=\"https://www.kqed.org/news/11729368/photos-rains-bring-floods-to-north-bay-communites\" target=\"_blank\" rel=\"noopener noreferrer\">and floods\u003c/a> on a first-name basis, the \u003ca href=\"https://www.pressdemocrat.com/article/news/fire-crews-bracing-for-extreme-fire-behavior/\" target=\"_blank\" rel=\"noopener noreferrer\">Walbridge fire\u003c/a> is wreaking havoc, having consumed over 50,000 acres, and only 5% contained.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.fire.ca.gov/incidents/2020/8/17/lnu-lightning-complex-includes-hennessey-gamble-15-10-spanish-markley-13-4-11-16-walbridge/\" target=\"_blank\" rel=\"noopener noreferrer\">LNU Lightning Complex fire\u003c/a> has torn through portions of Napa’s wine country, as well as residential areas in the city of Vacaville. Numerous structures have been compromised, livestock has been lost, and there have been four human fatalities reported thus far, as the fire has burned over 350,000 acres and is 22% contained after burning for six days.\u003c/p>\n\u003cfigure id=\"attachment_13885237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-800x533.jpg\" alt=\"Vehicles burned by the LNU Lightning Complex sit off Pleasants Valley Road near Vacaville on Aug. 19, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vehicles burned by the LNU Lightning Complex sit off Pleasants Valley Road near Vacaville on Aug. 19, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evacuation orders have been lifted in Vacaville, so I pulled off at Alamo Drive.\u003c/p>\n\u003cp>A brief tour around the area where the fire burned shows that it came within a few miles of two state prisons, California Medical Facility (CMF) and Solano State Prison. According to \u003ca href=\"https://www.cdcr.ca.gov/research/wp-content/uploads/sites/174/2020/08/Tpop1d200819.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">CDCR’s latest weekly report\u003c/a>, CMF currently houses 2,168 people (91.8% of the capacity for which the facility was built) while Solano currently holds 3,461 people (132.6% of the capacity for which the facility was built).\u003c/p>\n\u003cp>When officials ordered local residents to be evacuated because of the fire, the \u003ca href=\"https://twitter.com/vacavillepolice/status/1296233590347296768?s=11\" target=\"_blank\" rel=\"noopener noreferrer\">evacuation area originally outlined\u003c/a> by the Vacaville Police Department contained the two prisons. But the people in both prisons were never evacuated, and instead given masks. Soon after, the facilities were removed from the mandatory evacuation listing, with a CDCR spokesperson giving the reason that “\u003ca href=\"https://amp.theguardian.com/us-news/2020/aug/21/california-fires-prisons-covid-outbreaks?__twitter_impression=true\" target=\"_blank\" rel=\"noopener noreferrer\">they were not in immediate danger\u003c/a>.”\u003c/p>\n\u003cp>At the same time, the \u003ca href=\"https://www.mercurynews.com/2020/08/22/do-not-worry-about-any-firefighting-bay-area-fire-crews-fight-to-rescue-people-as-fires-spread-unchecked/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mercury News\u003c/em> reported\u003c/a> that as firefighters approached Cherry Hill Road, just over the ridge from the prisons, they radioed to each other, “do not worry about any firefighting.” Instead, they scrambled to assist in the evacuation of local residents.\u003c/p>\n\u003cp>Before getting back on 80, I sat in the 90-degree heat at 5pm and watched the ash accumulate in the gutter outside of CMF, thinking of the CDCR’s mishandling of the COVID-19 pandemic. It’s most exemplified by \u003ca href=\"https://www.capradio.org/articles/2020/07/01/san-quentin-outbreak-tied-to-inmate-transfer-relying-on-outdated-covid-19-test-results/\" target=\"_blank\" rel=\"noopener noreferrer\">the outbreak at San Quentin\u003c/a>, where one transfer has led to hundreds of cases of COVID-19, and over 25 COVID-19 related deaths.\u003c/p>\n\u003cp>Despite hundreds of people being released in recent months, the Californian prison system remains overcrowded. And in addition, healthcare in prisons is lackluster.\u003c/p>\n\u003cp>CMF, which has reported \u003ca href=\"https://www.cdcr.ca.gov/covid19/population-status-tracking/\" target=\"_blank\" rel=\"noopener noreferrer\">one new case of COVID-19\u003c/a> in the past 14 days (while only testing 23% of their population during that span), is designed to house people who are terminally ill, as well as those dealing with mental health issues and other diseases.\u003c/p>\n\u003cp>For six months in 2018, I worked at that facility, teaching a writing class through the William James Association Prison Arts Project. I met people who appreciate storytelling through rap music, as well as public radio. They took religious gatherings as seriously as their basketball games. And their gardening program provided a mental release for at least one person—I know, because that’s what he’d often write about.\u003c/p>\n\u003cp>Humans, all of them. Now impacted by COVID-19 and smoke inhalation from wildfires, just like all of us. But mass incarceration is the part of that intersection that hits them the hardest.\u003c/p>\n\u003cfigure id=\"attachment_13885236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-800x533.jpg\" alt=\"A firefighter assesses a blaze during the LNU Lightning Complex blaze on the outskirts of Vacaville on Aug. 19, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A firefighter assesses a blaze during the LNU Lightning Complex blaze on the outskirts of Vacaville on Aug. 19, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ight now, the state of California is a yule log. Fires are burning everywhere. On Sunday, the California Office of Emergency Services \u003ca href=\"https://twitter.com/Cal_OES/status/1297618988705300480?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">published an updated map\u003c/a> of current fires in the state. I held it up against \u003ca href=\"https://lightinprison.org/us/ca/institutions/\" target=\"_blank\" rel=\"noopener noreferrer\">a map of California’s penal institutions\u003c/a>.\u003c/p>\n\u003cp>There are fires close to a number of facilities, undoubtedly sending unhealthy air inside the buildings. But there’s nothing like seeing the proximity of the fire in Vacaville, and knowing that over 5,000 people are inside the prisons in the not-too-far distance.\u003c/p>\n\u003cp>It’s one thing to consider how the people around them were evacuated, but those in the prisons weren’t. It adds a layer of anger to know that every year, people serving time behind bars earn pennies to fight fires. And this year, despite \u003ca href=\"https://www.nytimes.com/2020/08/22/us/california-wildfires-prisoners.html?auth=link-dismiss-google1tap\" target=\"_blank\" rel=\"noopener noreferrer\">a lower number of incarcerated firefighters\u003c/a> due to the state releasing hundreds of inmates to slow the spread of COVID-19 amongst the remaining prison population, there are still incarcerated people out there, working the frontlines, fighting fires. And Vacaville residents are thankful for their work—\u003ca href=\"https://twitter.com/mgafni/status/1297640466532274177?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">there’s video to show it\u003c/a>.\u003c/p>\n\u003cp>Which raises the lingering question: if we’re standing at the intersection of mass incarceration, global warming and COVID-19, what’s the plan? How will officials replace the cheap labor force they’ve been using to fight fires? And does the CDCR have an evacuation plan for the people remaining inside of California’s facilities?\u003c/p>\n\u003cp>Last week, a CDCR spokesperson mentioned precautions the organization has taken, such as clearing some of the surrounding acreage behind the Vacaville facilities. But when asked about a specific evacuation plan, the spokesperson danced around the question, \u003ca href=\"https://www.mercurynews.com/2020/08/21/no-one-deserves-conditions-like-this-fires-present-health-risks-prompt-calls-to-evacuate-nearby-state-prisons/\" target=\"_blank\" rel=\"noopener noreferrer\">according to reports\u003c/a>.\u003c/p>\n\u003cp>Given recent trends, we will undoubtedly see more wildfires in California. Looking at the location of many of California’s penal institutions, they will continue to be impacted by climate change. And understanding the correlation between overcrowding and the prevalence of health issues within the system, it doesn’t seem likes there’s any room to budge.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So, again, what’s the plan?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>y drive down Interstate 80, from Sacramento to Oakland, takes me through the intersection of three major issues plaguing California: COVID-19, global warming and mass incarceration.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Cows near Davis eat grass sprinkled with ash. Hillsides along the highway in Vacaville are in burnt-toast status. From the Hunter Hill rest area, a hilltop that overlooks a portion of Vallejo and the Bay beyond it, smoke from other fires hangs around the region.\u003c/p>\n\u003cp>In the sky above, the sun fights to shine through the layer of haze; the color of rage reflects off the water. It’s now the \u003cem>burgundy Bay Area\u003c/em>.\u003c/p>\n\u003cp>It’s August again in California: wildfire season, albeit a bit earlier than past years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last week \u003ca href=\"https://www.kqed.org/news/11833586/photos-rare-august-thunderstorm-sees-lightning-streak-across-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">a lightning storm\u003c/a> with a record amount of ground strikes passed through Northern California, kicking off \u003ca href=\"https://www.kqed.org/news/11834647/fires-break-state-history-records-as-blazes-and-smoke-continue\" target=\"_blank\" rel=\"noopener noreferrer\">numerous wildfires\u003c/a>. Over the weekend, Governor Gavin Newsom reported nearly 600 fires burning in the state.\u003c/p>\n\u003cp>Two of those fires are \u003ca href=\"https://twitter.com/CAL_FIRE/status/1297258054136651776?s=20\">the largest the state has ever seen\u003c/a>—a statistic we’ve heard almost every year for the past four years.\u003c/p>\n\u003cfigure id=\"attachment_13885226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885226\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Sun.Wildfire-800x600.jpg\" alt=\"The sun turns crimson red in Sonoma County due to smoke from the LNU Lightning Complex fires.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Sun.Wildfire.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sun turns crimson red in Sonoma County due to smoke from the LNU Lightning Complex fires. \u003ccite>(Robert Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ear Santa Cruz, \u003ca href=\"https://www.mercurynews.com/2020/08/20/historic-buildings-destroyed-at-big-basin-redwoods-state-park/\">fires tore through Big Basin\u003c/a> state park, ravaging the campgrounds, buildings and some enormous redwoods that have stood since before Christ walked the earth. The \u003ca href=\"https://www.fire.ca.gov/incidents/2020/8/17/czu-lightning-complex-including-warnella-fire/\" target=\"_blank\" rel=\"noopener noreferrer\">CZU Lightning Complex fire\u003c/a> has consumed over 70,000 acres near the northern portion of Santa Cruz County, and is only 8% contained.\u003c/p>\n\u003cp>In the far eastern reaches of Alameda County, the \u003ca href=\"https://www.fire.ca.gov/incidents/2020/8/18/scu-lightning-complex/\" target=\"_blank\" rel=\"noopener noreferrer\">SCU Lightning Complex fire\u003c/a>, the culmination of 20 individual fires, has wiped out over 340,000 acres, and is only 10% contained.\u003c/p>\n\u003cp>Along the northern coast, in the town of Guerneville, a place that knows both wildfires \u003ca href=\"https://www.kqed.org/news/11729368/photos-rains-bring-floods-to-north-bay-communites\" target=\"_blank\" rel=\"noopener noreferrer\">and floods\u003c/a> on a first-name basis, the \u003ca href=\"https://www.pressdemocrat.com/article/news/fire-crews-bracing-for-extreme-fire-behavior/\" target=\"_blank\" rel=\"noopener noreferrer\">Walbridge fire\u003c/a> is wreaking havoc, having consumed over 50,000 acres, and only 5% contained.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.fire.ca.gov/incidents/2020/8/17/lnu-lightning-complex-includes-hennessey-gamble-15-10-spanish-markley-13-4-11-16-walbridge/\" target=\"_blank\" rel=\"noopener noreferrer\">LNU Lightning Complex fire\u003c/a> has torn through portions of Napa’s wine country, as well as residential areas in the city of Vacaville. Numerous structures have been compromised, livestock has been lost, and there have been four human fatalities reported thus far, as the fire has burned over 350,000 acres and is 22% contained after burning for six days.\u003c/p>\n\u003cfigure id=\"attachment_13885237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-800x533.jpg\" alt=\"Vehicles burned by the LNU Lightning Complex sit off Pleasants Valley Road near Vacaville on Aug. 19, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville.Fire_.Cars_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vehicles burned by the LNU Lightning Complex sit off Pleasants Valley Road near Vacaville on Aug. 19, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evacuation orders have been lifted in Vacaville, so I pulled off at Alamo Drive.\u003c/p>\n\u003cp>A brief tour around the area where the fire burned shows that it came within a few miles of two state prisons, California Medical Facility (CMF) and Solano State Prison. According to \u003ca href=\"https://www.cdcr.ca.gov/research/wp-content/uploads/sites/174/2020/08/Tpop1d200819.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">CDCR’s latest weekly report\u003c/a>, CMF currently houses 2,168 people (91.8% of the capacity for which the facility was built) while Solano currently holds 3,461 people (132.6% of the capacity for which the facility was built).\u003c/p>\n\u003cp>When officials ordered local residents to be evacuated because of the fire, the \u003ca href=\"https://twitter.com/vacavillepolice/status/1296233590347296768?s=11\" target=\"_blank\" rel=\"noopener noreferrer\">evacuation area originally outlined\u003c/a> by the Vacaville Police Department contained the two prisons. But the people in both prisons were never evacuated, and instead given masks. Soon after, the facilities were removed from the mandatory evacuation listing, with a CDCR spokesperson giving the reason that “\u003ca href=\"https://amp.theguardian.com/us-news/2020/aug/21/california-fires-prisons-covid-outbreaks?__twitter_impression=true\" target=\"_blank\" rel=\"noopener noreferrer\">they were not in immediate danger\u003c/a>.”\u003c/p>\n\u003cp>At the same time, the \u003ca href=\"https://www.mercurynews.com/2020/08/22/do-not-worry-about-any-firefighting-bay-area-fire-crews-fight-to-rescue-people-as-fires-spread-unchecked/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mercury News\u003c/em> reported\u003c/a> that as firefighters approached Cherry Hill Road, just over the ridge from the prisons, they radioed to each other, “do not worry about any firefighting.” Instead, they scrambled to assist in the evacuation of local residents.\u003c/p>\n\u003cp>Before getting back on 80, I sat in the 90-degree heat at 5pm and watched the ash accumulate in the gutter outside of CMF, thinking of the CDCR’s mishandling of the COVID-19 pandemic. It’s most exemplified by \u003ca href=\"https://www.capradio.org/articles/2020/07/01/san-quentin-outbreak-tied-to-inmate-transfer-relying-on-outdated-covid-19-test-results/\" target=\"_blank\" rel=\"noopener noreferrer\">the outbreak at San Quentin\u003c/a>, where one transfer has led to hundreds of cases of COVID-19, and over 25 COVID-19 related deaths.\u003c/p>\n\u003cp>Despite hundreds of people being released in recent months, the Californian prison system remains overcrowded. And in addition, healthcare in prisons is lackluster.\u003c/p>\n\u003cp>CMF, which has reported \u003ca href=\"https://www.cdcr.ca.gov/covid19/population-status-tracking/\" target=\"_blank\" rel=\"noopener noreferrer\">one new case of COVID-19\u003c/a> in the past 14 days (while only testing 23% of their population during that span), is designed to house people who are terminally ill, as well as those dealing with mental health issues and other diseases.\u003c/p>\n\u003cp>For six months in 2018, I worked at that facility, teaching a writing class through the William James Association Prison Arts Project. I met people who appreciate storytelling through rap music, as well as public radio. They took religious gatherings as seriously as their basketball games. And their gardening program provided a mental release for at least one person—I know, because that’s what he’d often write about.\u003c/p>\n\u003cp>Humans, all of them. Now impacted by COVID-19 and smoke inhalation from wildfires, just like all of us. But mass incarceration is the part of that intersection that hits them the hardest.\u003c/p>\n\u003cfigure id=\"attachment_13885236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-800x533.jpg\" alt=\"A firefighter assesses a blaze during the LNU Lightning Complex blaze on the outskirts of Vacaville on Aug. 19, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Vacaville_LNULightningComplexFire_08192020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A firefighter assesses a blaze during the LNU Lightning Complex blaze on the outskirts of Vacaville on Aug. 19, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ight now, the state of California is a yule log. Fires are burning everywhere. On Sunday, the California Office of Emergency Services \u003ca href=\"https://twitter.com/Cal_OES/status/1297618988705300480?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">published an updated map\u003c/a> of current fires in the state. I held it up against \u003ca href=\"https://lightinprison.org/us/ca/institutions/\" target=\"_blank\" rel=\"noopener noreferrer\">a map of California’s penal institutions\u003c/a>.\u003c/p>\n\u003cp>There are fires close to a number of facilities, undoubtedly sending unhealthy air inside the buildings. But there’s nothing like seeing the proximity of the fire in Vacaville, and knowing that over 5,000 people are inside the prisons in the not-too-far distance.\u003c/p>\n\u003cp>It’s one thing to consider how the people around them were evacuated, but those in the prisons weren’t. It adds a layer of anger to know that every year, people serving time behind bars earn pennies to fight fires. And this year, despite \u003ca href=\"https://www.nytimes.com/2020/08/22/us/california-wildfires-prisoners.html?auth=link-dismiss-google1tap\" target=\"_blank\" rel=\"noopener noreferrer\">a lower number of incarcerated firefighters\u003c/a> due to the state releasing hundreds of inmates to slow the spread of COVID-19 amongst the remaining prison population, there are still incarcerated people out there, working the frontlines, fighting fires. And Vacaville residents are thankful for their work—\u003ca href=\"https://twitter.com/mgafni/status/1297640466532274177?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">there’s video to show it\u003c/a>.\u003c/p>\n\u003cp>Which raises the lingering question: if we’re standing at the intersection of mass incarceration, global warming and COVID-19, what’s the plan? How will officials replace the cheap labor force they’ve been using to fight fires? And does the CDCR have an evacuation plan for the people remaining inside of California’s facilities?\u003c/p>\n\u003cp>Last week, a CDCR spokesperson mentioned precautions the organization has taken, such as clearing some of the surrounding acreage behind the Vacaville facilities. But when asked about a specific evacuation plan, the spokesperson danced around the question, \u003ca href=\"https://www.mercurynews.com/2020/08/21/no-one-deserves-conditions-like-this-fires-present-health-risks-prompt-calls-to-evacuate-nearby-state-prisons/\" target=\"_blank\" rel=\"noopener noreferrer\">according to reports\u003c/a>.\u003c/p>\n\u003cp>Given recent trends, we will undoubtedly see more wildfires in California. Looking at the location of many of California’s penal institutions, they will continue to be impacted by climate change. And understanding the correlation between overcrowding and the prevalence of health issues within the system, it doesn’t seem likes there’s any room to budge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, again, what’s the plan?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Podcast-Opera About Early Chatrooms is a Funhouse Mirror for Our Very Online Lives",
"headTitle": "A Podcast-Opera About Early Chatrooms is a Funhouse Mirror for Our Very Online Lives | KQED",
"content": "\u003cp>[dropcap]E[/dropcap]ver since the pandemic flattened our physical world into a mostly digital plane, the theater of human life has unfolded on Zoom, TikTok and Instagram. Meet-ups and breakups, weddings and divorces, childbirths and funerals all take place now in the 2D space of our screens.\u003c/p>\n\u003cp>Given the—\u003cem>sigh\u003c/em>—current moment, the internet provides a fitting setting for one of the timeliest art projects to come out this year: \u003ca href=\"https://theelectroniclover.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Electronic Lover\u003c/em>\u003c/a>, an opera released in the form of a podcast that’s set at the dawn of the internet, where the intrigue plays out in an early ’80s chatroom. Though librettist \u003ca href=\"https://bethlisick.wordpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Lisick\u003c/a> and composer \u003ca href=\"https://www.lisamezzacappa.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lisa Mezzacappa\u003c/a> began working on \u003cem>The Electronic Lover\u003c/em> three years ago, the podcast arrives just in time for the COVID era, when seeing live opera isn’t an option and performing artists struggle to adapt. The pilot episode comes out Aug. 14, with a \u003ca href=\"https://tickets.vendini.com/ticket-software.html?t=tix&e=89a091347cc93e7ec36bb7ec26feffc2&vqitq=fc7aa6fa-7145-4fc9-ab59-c2aefa809b3f&vqitp=6759d6b9-9598-4c1e-8949-cf97b09d674b&vqitts=1597078596&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=e096ca8905f9015e78652f30d7e57238\" target=\"_blank\" rel=\"noopener noreferrer\">virtual launch party\u003c/a> including the cast and creators hosted that evening by the Center for new Music.\u003c/p>\n\u003cp>While there are podcasts \u003cem>about \u003c/em>opera, as well as fiction podcasts devoted to narrative storytelling, \u003cem>The Electronic Lover \u003c/em>is the first time (at least according to my research and the creators’ knowledge) that an opera has been presented in serialized episodes for streaming on Apple, Stitcher and other podcasting platforms. It’s also both creators’ first official foray into the genre, though one could say that their past endeavors prepared them for the task. Lisick, co-founder of the popular San Francisco live storytelling event Porchlight, is known for funny, gonzo-style writing about artist life. Mezzacappa is best-known as a jazz bass improviser and composer whose ambitious collaborations have pulled from literature. [aside postid='arts_13877358']\u003c/p>\n\u003cp>Together, the two artists decided to use opera to explore a time when the internet—a tool that so many of us now use to discover our identities, craft personas and find communities—allowed strangers to anonymously spill their guts to one another through green letters on a black screen. The early ’80s was a naive era when chatrooms encouraged emotional intimacy, decades before the United States president would use Twitter to decree foreign policy. Before white supremacists coordinated terroristic acts on message boards. And before being a woman on the internet meant being subjected to unsolicited dick pics and misogynistic trolling.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“As soon as you hear ‘internet chatroom,’ before, it was like, ‘How cool, you’re going to be talking to people across the country,’” says Lisick. “Now you hear it and it’s like, ‘There’s going to be trouble.’ It mostly conjures negative ideas. In the beginning, it was this amazing thing. You could talk about anything.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13884718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884718\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Lisa Mezzacappa. \u003ccite>(Tim Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he first episode of \u003cem>The Electronic Lover\u003c/em> opens with sung thought fragments from strangers who’ve used their dial-up modems to connect to cyberspace, looking to express themselves in ways they couldn’t in their physical realities. A woman gripes about a bike injury; another confesses about the public spaces where she’s had sex. Each line in the chat is sung by a different performer, accompanied by a sparse instrumental soundtrack of drums, electronic bass and synthesizer. Mezzacappa recorded them one at a time, with proper social distancing, to make the process as pandemic-safe as possible. Oddly—and fittingly—many of the singers recorded their lines with an accompaniment of AI-generated vocals since they couldn’t all be in the room together. But the result, stitched together in software, still feels as natural as a pre-COVID ensemble.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“In a way it almost models how weird this world we’re conjuring from the early ’80s is,” says Mezzacappa. “Everybody is trying to make connections and being so vulnerable with these people they can’t see and haven’t met. It’s the same with these singers, they’re singing with computer-generated voices as the mockup of the band and other singers.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">She adds, “My hope is that the constraints of this new environment actually lead to interesting, new creative ideas about how to work together. You can fight it as this lame version of the thing you wanted to do, or you can start to think, ‘What can I do now that would be totally different and something I haven’t thought of?’” [aside postid='arts_13883979']\u003c/span>\u003c/p>\n\u003cp>Internet connectivity wasn’t commonplace in American households until 2001, so those who had access to chatrooms in the early ’80s were typically academics, tech professionals and hobbyists who could afford computers. In those days, to exchange selfies, one would have to print out a photo and send it by snail mail, so internet friendships were personal and intentional. Lisick learned a lot about this as a young nightlife columnist for \u003ca href=\"http://sfgate.com\" target=\"_blank\" rel=\"noopener noreferrer\">SFGate\u003c/a> in the ’90s. Her boss, John Coate, had worked at the WELL, an early online community, and he helped turn SFGate into one of the world’s first successful news sites.\u003c/p>\n\u003cfigure id=\"attachment_13884719\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/BethLisick-photoby-AmySullivan.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/BethLisick-photoby-AmySullivan.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/BethLisick-photoby-AmySullivan-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/BethLisick-photoby-AmySullivan-768x1151.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Librettist Beth Lisick. \u003ccite>(Amy Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In episode one of \u003cem>The Electronic Lover\u003c/em>, we meet Margot Halperin, a midwife who leaves an off-the-grid commune for a new job where her expertise in emotional labor comes in handy for moderating a chatroom. Voicing the idealistic aspirations of the internet’s early adopters, Margot (voiced by Michelle Amador) sings: “You can connect people all over the world, he said / A free exchange of ideas, he said / Soon everyone will have one in their homes, he said / It will be the great equalizer, he said.”\u003c/p>\n\u003cp>But quickly, the women on the chat encounter mansplaining and misogynistic assumptions. Then, a user named Joan offers an idea that has been resonant from the days of Virginia Woolf to today’s online “safe spaces”: what the women need is a chatroom of one’s own.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“It was interesting when there was a caretaker keeping things cool,” says Lisick. “And now, there’s nobody doing that. I mean, look at our president. There’s no one that’s out there trying to maintain a level of safety for anybody.”\u003c/span>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n our interview, Lisick and Mezzacappa decline to give too much detail about what comes next, as the following episodes still have yet to be recorded and are due out in 2021. But those dying to learn more about the action can read the 1985 \u003ca href=\"https://lindsyvangelder.com/sites/default/files/Plinkers.org%20-%20Electronic%20Lover.htm_.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ms. Magazine\u003c/em> article\u003c/a> that served as the opera’s inspiration. It deals with a classic case of online catfishing.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“A lot of the things that happen will resonate with women’s and girls’ experiences on the internet,” Mezzacappa hints.\u003c/span>\u003c/p>\n\u003cp>The concept of someone pretending to be someone else online has provided pop culture with endless fascination. It’s the basis of an MTV reality show and more recent controversies, like the identity reveal of influencer \u003ca href=\"https://www.papermag.com/emoblackthot-twitter-response-2640994247.html?rebelltitem=2#rebelltitem2\" target=\"_blank\" rel=\"noopener noreferrer\">@EmoBlackThot\u003c/a>, who attracted a massive following, mostly of Black women, by posing as one. The intrigue of an internet impostor is great fodder for a high-drama art form like opera, and the subject matter makes the podcast accessible even to those whose ears need adjusting to a sung storyline, with only a few spoken lines here and there from the narrator.\u003c/p>\n\u003cp>The ways catfishers infiltrate the emotions of their unwitting victims—typically people who feel alienated in their IRL worlds and are seeking connection through a screen—makes \u003cem>The Electronic Lover\u003c/em> relatable and gripping.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“It’s funny and sexy and weird,” says Mezzacappa. “Everything about the story is operatic.”\u003c/span>\u003c/p>\n\n",
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"excerpt": "As the theater of modern life unfolds online, the drama of ‘The Electronic Lover’ is timelier than ever.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">E\u003c/span>\u003c/p>\u003cp>ver since the pandemic flattened our physical world into a mostly digital plane, the theater of human life has unfolded on Zoom, TikTok and Instagram. Meet-ups and breakups, weddings and divorces, childbirths and funerals all take place now in the 2D space of our screens.\u003c/p>\n\u003cp>Given the—\u003cem>sigh\u003c/em>—current moment, the internet provides a fitting setting for one of the timeliest art projects to come out this year: \u003ca href=\"https://theelectroniclover.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Electronic Lover\u003c/em>\u003c/a>, an opera released in the form of a podcast that’s set at the dawn of the internet, where the intrigue plays out in an early ’80s chatroom. Though librettist \u003ca href=\"https://bethlisick.wordpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Lisick\u003c/a> and composer \u003ca href=\"https://www.lisamezzacappa.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lisa Mezzacappa\u003c/a> began working on \u003cem>The Electronic Lover\u003c/em> three years ago, the podcast arrives just in time for the COVID era, when seeing live opera isn’t an option and performing artists struggle to adapt. The pilot episode comes out Aug. 14, with a \u003ca href=\"https://tickets.vendini.com/ticket-software.html?t=tix&e=89a091347cc93e7ec36bb7ec26feffc2&vqitq=fc7aa6fa-7145-4fc9-ab59-c2aefa809b3f&vqitp=6759d6b9-9598-4c1e-8949-cf97b09d674b&vqitts=1597078596&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=e096ca8905f9015e78652f30d7e57238\" target=\"_blank\" rel=\"noopener noreferrer\">virtual launch party\u003c/a> including the cast and creators hosted that evening by the Center for new Music.\u003c/p>\n\u003cp>While there are podcasts \u003cem>about \u003c/em>opera, as well as fiction podcasts devoted to narrative storytelling, \u003cem>The Electronic Lover \u003c/em>is the first time (at least according to my research and the creators’ knowledge) that an opera has been presented in serialized episodes for streaming on Apple, Stitcher and other podcasting platforms. It’s also both creators’ first official foray into the genre, though one could say that their past endeavors prepared them for the task. Lisick, co-founder of the popular San Francisco live storytelling event Porchlight, is known for funny, gonzo-style writing about artist life. Mezzacappa is best-known as a jazz bass improviser and composer whose ambitious collaborations have pulled from literature. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Together, the two artists decided to use opera to explore a time when the internet—a tool that so many of us now use to discover our identities, craft personas and find communities—allowed strangers to anonymously spill their guts to one another through green letters on a black screen. The early ’80s was a naive era when chatrooms encouraged emotional intimacy, decades before the United States president would use Twitter to decree foreign policy. Before white supremacists coordinated terroristic acts on message boards. And before being a woman on the internet meant being subjected to unsolicited dick pics and misogynistic trolling.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“As soon as you hear ‘internet chatroom,’ before, it was like, ‘How cool, you’re going to be talking to people across the country,’” says Lisick. “Now you hear it and it’s like, ‘There’s going to be trouble.’ It mostly conjures negative ideas. In the beginning, it was this amazing thing. You could talk about anything.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13884718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884718\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/LisaMezzacappa-Photo-by-Tim-Rowe-2019.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer Lisa Mezzacappa. \u003ccite>(Tim Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he first episode of \u003cem>The Electronic Lover\u003c/em> opens with sung thought fragments from strangers who’ve used their dial-up modems to connect to cyberspace, looking to express themselves in ways they couldn’t in their physical realities. A woman gripes about a bike injury; another confesses about the public spaces where she’s had sex. Each line in the chat is sung by a different performer, accompanied by a sparse instrumental soundtrack of drums, electronic bass and synthesizer. Mezzacappa recorded them one at a time, with proper social distancing, to make the process as pandemic-safe as possible. Oddly—and fittingly—many of the singers recorded their lines with an accompaniment of AI-generated vocals since they couldn’t all be in the room together. But the result, stitched together in software, still feels as natural as a pre-COVID ensemble.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“In a way it almost models how weird this world we’re conjuring from the early ’80s is,” says Mezzacappa. “Everybody is trying to make connections and being so vulnerable with these people they can’t see and haven’t met. It’s the same with these singers, they’re singing with computer-generated voices as the mockup of the band and other singers.”\u003c/span>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">She adds, “My hope is that the constraints of this new environment actually lead to interesting, new creative ideas about how to work together. You can fight it as this lame version of the thing you wanted to do, or you can start to think, ‘What can I do now that would be totally different and something I haven’t thought of?’” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Internet connectivity wasn’t commonplace in American households until 2001, so those who had access to chatrooms in the early ’80s were typically academics, tech professionals and hobbyists who could afford computers. In those days, to exchange selfies, one would have to print out a photo and send it by snail mail, so internet friendships were personal and intentional. Lisick learned a lot about this as a young nightlife columnist for \u003ca href=\"http://sfgate.com\" target=\"_blank\" rel=\"noopener noreferrer\">SFGate\u003c/a> in the ’90s. Her boss, John Coate, had worked at the WELL, an early online community, and he helped turn SFGate into one of the world’s first successful news sites.\u003c/p>\n\u003cfigure id=\"attachment_13884719\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/BethLisick-photoby-AmySullivan.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/BethLisick-photoby-AmySullivan.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/BethLisick-photoby-AmySullivan-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/BethLisick-photoby-AmySullivan-768x1151.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Librettist Beth Lisick. \u003ccite>(Amy Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In episode one of \u003cem>The Electronic Lover\u003c/em>, we meet Margot Halperin, a midwife who leaves an off-the-grid commune for a new job where her expertise in emotional labor comes in handy for moderating a chatroom. Voicing the idealistic aspirations of the internet’s early adopters, Margot (voiced by Michelle Amador) sings: “You can connect people all over the world, he said / A free exchange of ideas, he said / Soon everyone will have one in their homes, he said / It will be the great equalizer, he said.”\u003c/p>\n\u003cp>But quickly, the women on the chat encounter mansplaining and misogynistic assumptions. Then, a user named Joan offers an idea that has been resonant from the days of Virginia Woolf to today’s online “safe spaces”: what the women need is a chatroom of one’s own.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“It was interesting when there was a caretaker keeping things cool,” says Lisick. “And now, there’s nobody doing that. I mean, look at our president. There’s no one that’s out there trying to maintain a level of safety for anybody.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n our interview, Lisick and Mezzacappa decline to give too much detail about what comes next, as the following episodes still have yet to be recorded and are due out in 2021. But those dying to learn more about the action can read the 1985 \u003ca href=\"https://lindsyvangelder.com/sites/default/files/Plinkers.org%20-%20Electronic%20Lover.htm_.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ms. Magazine\u003c/em> article\u003c/a> that served as the opera’s inspiration. It deals with a classic case of online catfishing.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“A lot of the things that happen will resonate with women’s and girls’ experiences on the internet,” Mezzacappa hints.\u003c/span>\u003c/p>\n\u003cp>The concept of someone pretending to be someone else online has provided pop culture with endless fascination. It’s the basis of an MTV reality show and more recent controversies, like the identity reveal of influencer \u003ca href=\"https://www.papermag.com/emoblackthot-twitter-response-2640994247.html?rebelltitem=2#rebelltitem2\" target=\"_blank\" rel=\"noopener noreferrer\">@EmoBlackThot\u003c/a>, who attracted a massive following, mostly of Black women, by posing as one. The intrigue of an internet impostor is great fodder for a high-drama art form like opera, and the subject matter makes the podcast accessible even to those whose ears need adjusting to a sung storyline, with only a few spoken lines here and there from the narrator.\u003c/p>\n\u003cp>The ways catfishers infiltrate the emotions of their unwitting victims—typically people who feel alienated in their IRL worlds and are seeking connection through a screen—makes \u003cem>The Electronic Lover\u003c/em> relatable and gripping.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New 'Quar-Horror' Films Show Staying at Home is Scary Too",
"headTitle": "New ‘Quar-Horror’ Films Show Staying at Home is Scary Too | KQED",
"content": "\u003cp>It’s no exaggeration to say this year feels like a horror movie. And now, a few filmmakers are making it official.\u003c/p>\n\u003cp>All over YouTube, you can find inventive homemade horror shorts taking the pandemic as inspiration. (They come \u003ca href=\"https://www.youtube.com/watch?v=bh3_arF9g8M\" target=\"_blank\" rel=\"noopener noreferrer\">from Brazil\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BdkwVF-5l0Y\" target=\"_blank\" rel=\"noopener noreferrer\">from Canada\u003c/a> and from, \u003ca href=\"https://www.youtube.com/watch?v=mF1r2W1fAGs\" target=\"_blank\" rel=\"noopener noreferrer\">well, Funny or Die\u003c/a>.) And a new movie \u003cem>Host\u003c/em>, filmed over twelve weeks in quarantine and entirely on Zoom, debuted on the horror channel Shudder last week.\u003c/p>\n\u003cp>Call it “quar-horror.”\u003c/p>\n\u003cp>Among the most chilling of the YouTube offerings is \u003ca href=\"https://www.youtube.com/watch?v=YLAwv5E5bUc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stay At Home\u003c/em>, part horror movie and part PSA\u003c/a> from a filmmaker in New Orleans.\u003c/p>\n\u003cp>“I literally just grabbed a box, and I set up the camera on a tripod and gave myself a scenario,” says Kenneth Brown, a former Uber driver turned horror auteur. “And the story started to build and build and build.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brown went to film school, and you can tell. Based on the myth of Pandora’s Box and the evening news, \u003cem>Stay At Home\u003c/em> is elegantly lit and crafted. As of this writing, it’s racked up nearly 200,000 views on YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YLAwv5E5bUc\u003c/p>\n\u003cp>Part of what makes \u003cem>Stay At Home\u003c/em> so effective—and heartfelt—is the insistent drone of news anchors discussing the mounting carnage. “That’s everything I need to say as far as reaching African Americans, which is the population most vulnerable to this virus,” says Brown, who is Black himself.\u003c/p>\n\u003cp>But escapism is also the point, say Nathan Crooker and James Gannon. Their upcoming quar-horror, called\u003cem> Isolation\u003c/em>, just wrapped principal photography. The two produced the film; Crooker is also its director. \u003cem>Isolation\u003c/em> is an anthology; nine interconnected shorts by different directors who filmed their movies using only resources immediately available to them.\u003c/p>\n\u003cp>“This is where our brains went,” Gannon says. “Instead of making bread, we were like, ‘What can we do with how we’re creative?'”\u003c/p>\n\u003cp>Everyone involved in \u003cem>Isolation\u003c/em> observed strict quarantine, the producers say. The directors made their movies at home, with family serving as cast and crew. Each explored different terrifying aspects of today’s world, from conspiracy theories involving 5G towers to the world of two small siblings whose mother has died. (Crooker and Gannon say their parents filmed a fake ending, to reassure the little kids that everything was okay.)\u003c/p>\n\u003cfigure id=\"attachment_13884318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/whale_custom-8c19b74ff1d2162d9c53d76bdd1a1662be50700a-800x428.jpg\" alt=\"In a scene from the upcoming quar-horror movie 'Isolation,' two children confront the body of a dead whale discovered on a beach.\" width=\"800\" height=\"428\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the upcoming quar-horror movie ‘Isolation,’ two children confront the body of a dead whale discovered on a beach. \u003ccite>(Bobby Roe /Ghost Gang Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think there’s something to be said for a cathartic experience,” Crooker says. “We want to respect that this [pandemic] is something real and we don’t want to make light of it. But horror can be a way to process our worst fears.”\u003c/p>\n\u003cp>A group of girls hold a virtual séance over Zoom during lockdown in \u003cem>Host\u003c/em>, streaming now on Shudder. \u003cem>Host\u003c/em> may be the first quar-horror feature, and it effectively exploits what’s inherently creepy about Zoom: garbled audio, inexplicable dropouts, those weird fake backgrounds used to disguise where people actually are, and special effect filters that add horns or animal noses to human faces.\u003c/p>\n\u003cp>“Really, we had this great opportunity to freak people out with something that’s become part of their daily routine,” says director Rob Savage, with evident satisfaction. “Because this is how so many of us have been communicating over the past few months.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SNlKbqHqGcY\u003c/p>\n\u003cp>Filming \u003cem>Host\u003c/em> in less than three months, he says, wasn’t as hard as you’d think. The actors were all his friends, and because productions were shut down, a lot of talented professionals were out of work. So makeup artists, cinematographers, editors and even stunt people were willing to pitch in and help solve problems around actors filming themselves at home. For example, he says, the stunts were done using composite shots.\u003c/p>\n\u003cp>“So you’ll have a character wander in from their bedroom into their kitchen,” he explains. “But it won’t be their kitchen. It’ll be a stunt person’s kitchen and they’re wearing the same clothes. And they’ll perform a crazy stunt and then we’ll do a hidden cut and you’re back to the real actor.”\u003c/p>\n\u003cp>Savage says he occasionally directed his cast using the chat function on Zoom. It’s part of a way of existing now, he says, in a reality that stresses and frightens us. Horror movies are one way we talk about our nightmares.\u003c/p>\n\u003cp>Sitting at home, we need other people, he says. We need their vision, excitement and passion. And we need to see what scares them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the Web by Neda Ulaby and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Quar-Horror%27+Films+Show+Staying+At+Home+Is+Scary+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no exaggeration to say this year feels like a horror movie. And now, a few filmmakers are making it official.\u003c/p>\n\u003cp>All over YouTube, you can find inventive homemade horror shorts taking the pandemic as inspiration. (They come \u003ca href=\"https://www.youtube.com/watch?v=bh3_arF9g8M\" target=\"_blank\" rel=\"noopener noreferrer\">from Brazil\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BdkwVF-5l0Y\" target=\"_blank\" rel=\"noopener noreferrer\">from Canada\u003c/a> and from, \u003ca href=\"https://www.youtube.com/watch?v=mF1r2W1fAGs\" target=\"_blank\" rel=\"noopener noreferrer\">well, Funny or Die\u003c/a>.) And a new movie \u003cem>Host\u003c/em>, filmed over twelve weeks in quarantine and entirely on Zoom, debuted on the horror channel Shudder last week.\u003c/p>\n\u003cp>Call it “quar-horror.”\u003c/p>\n\u003cp>Among the most chilling of the YouTube offerings is \u003ca href=\"https://www.youtube.com/watch?v=YLAwv5E5bUc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stay At Home\u003c/em>, part horror movie and part PSA\u003c/a> from a filmmaker in New Orleans.\u003c/p>\n\u003cp>“I literally just grabbed a box, and I set up the camera on a tripod and gave myself a scenario,” says Kenneth Brown, a former Uber driver turned horror auteur. “And the story started to build and build and build.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brown went to film school, and you can tell. Based on the myth of Pandora’s Box and the evening news, \u003cem>Stay At Home\u003c/em> is elegantly lit and crafted. As of this writing, it’s racked up nearly 200,000 views on YouTube.\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/YLAwv5E5bUc'\n title='//www.youtube.com/embed/YLAwv5E5bUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of what makes \u003cem>Stay At Home\u003c/em> so effective—and heartfelt—is the insistent drone of news anchors discussing the mounting carnage. “That’s everything I need to say as far as reaching African Americans, which is the population most vulnerable to this virus,” says Brown, who is Black himself.\u003c/p>\n\u003cp>But escapism is also the point, say Nathan Crooker and James Gannon. Their upcoming quar-horror, called\u003cem> Isolation\u003c/em>, just wrapped principal photography. The two produced the film; Crooker is also its director. \u003cem>Isolation\u003c/em> is an anthology; nine interconnected shorts by different directors who filmed their movies using only resources immediately available to them.\u003c/p>\n\u003cp>“This is where our brains went,” Gannon says. “Instead of making bread, we were like, ‘What can we do with how we’re creative?'”\u003c/p>\n\u003cp>Everyone involved in \u003cem>Isolation\u003c/em> observed strict quarantine, the producers say. The directors made their movies at home, with family serving as cast and crew. Each explored different terrifying aspects of today’s world, from conspiracy theories involving 5G towers to the world of two small siblings whose mother has died. (Crooker and Gannon say their parents filmed a fake ending, to reassure the little kids that everything was okay.)\u003c/p>\n\u003cfigure id=\"attachment_13884318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/whale_custom-8c19b74ff1d2162d9c53d76bdd1a1662be50700a-800x428.jpg\" alt=\"In a scene from the upcoming quar-horror movie 'Isolation,' two children confront the body of a dead whale discovered on a beach.\" width=\"800\" height=\"428\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the upcoming quar-horror movie ‘Isolation,’ two children confront the body of a dead whale discovered on a beach. \u003ccite>(Bobby Roe /Ghost Gang Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think there’s something to be said for a cathartic experience,” Crooker says. “We want to respect that this [pandemic] is something real and we don’t want to make light of it. But horror can be a way to process our worst fears.”\u003c/p>\n\u003cp>A group of girls hold a virtual séance over Zoom during lockdown in \u003cem>Host\u003c/em>, streaming now on Shudder. \u003cem>Host\u003c/em> may be the first quar-horror feature, and it effectively exploits what’s inherently creepy about Zoom: garbled audio, inexplicable dropouts, those weird fake backgrounds used to disguise where people actually are, and special effect filters that add horns or animal noses to human faces.\u003c/p>\n\u003cp>“Really, we had this great opportunity to freak people out with something that’s become part of their daily routine,” says director Rob Savage, with evident satisfaction. “Because this is how so many of us have been communicating over the past few months.”\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/SNlKbqHqGcY'\n title='//www.youtube.com/embed/SNlKbqHqGcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filming \u003cem>Host\u003c/em> in less than three months, he says, wasn’t as hard as you’d think. The actors were all his friends, and because productions were shut down, a lot of talented professionals were out of work. So makeup artists, cinematographers, editors and even stunt people were willing to pitch in and help solve problems around actors filming themselves at home. For example, he says, the stunts were done using composite shots.\u003c/p>\n\u003cp>“So you’ll have a character wander in from their bedroom into their kitchen,” he explains. “But it won’t be their kitchen. It’ll be a stunt person’s kitchen and they’re wearing the same clothes. And they’ll perform a crazy stunt and then we’ll do a hidden cut and you’re back to the real actor.”\u003c/p>\n\u003cp>Savage says he occasionally directed his cast using the chat function on Zoom. It’s part of a way of existing now, he says, in a reality that stresses and frightens us. Horror movies are one way we talk about our nightmares.\u003c/p>\n\u003cp>Sitting at home, we need other people, he says. We need their vision, excitement and passion. And we need to see what scares them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory, and adapted for the Web by Neda Ulaby and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Quar-Horror%27+Films+Show+Staying+At+Home+Is+Scary+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>En colaboración con usted, KQED Arts & Culture está trabajando en un proyecto de conmemoración en honor a residentes del Área de la Bahía que nos han dejado a causa de covid-19.\u003c/p>\n\u003cp>Si tiene un ser querido que le gustaría que estuviera en esta conmemoración, \u003ca href=\"#covidcallout\">puede llenar el formulario al final del artículo.\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13883905/pay-tribute-to-your-loved-one-in-kqeds-covid-19-memorial\" target=\"_blank\" rel=\"noopener noreferrer\">Read in English\u003c/a>\u003c/em>\u003c/p>\n\u003ch3>¿Por qué estamos haciendo este proyecto?\u003c/h3>\n\u003cp>Por medio de estas memorias colectivas, planeamos crear y apoyar a la comunidad de personas que se encuentran de luto por la pérdida de un ser querido por covid-19. Les queremos ofrecer un espacio para recordar, vivir el duelo, conectarse el uno con el otro, y eliminar la soledad en proceso de pérdida.\u003c/p>\n\u003cp>Nos comprometemos a leer cada memoria y le pediremos su permiso antes de compartir cualquier cosa públicamente.\u003c/p>\n\u003ch3>¿Cómo puedo compartir la memoria de mi ser querido?\u003c/h3>\n\u003cul>\n\u003cli>Los momentos especiales de la persona: ¿Qué es algo que nunca va a olvidar de su ser querido? ¿Qué le gustaría que se recordara de su ser querido? ¿Cuál es la historia de la persona?\u003c/li>\n\u003cli>Una foto (proporcionada por la persona que envíe la historia) que será publicada en nuestro espacio de conmemoración junto con los seres queridos de otras personas.\u003c/li>\n\u003c/ul>\n\u003cp>Si usted se encuentra de luto en este momento y está buscando apoyo, puede visitar la siguiente lista de recursos:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://espanol.cdc.gov/coronavirus/2019-ncov/daily-life-coping/stress-coping/grief-loss.html\" target=\"_blank\" rel=\"noopener noreferrer\">El dolor y la pérdida durante la pandemia de covid-19\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://good-grief.org/recursos-de-apoyo-para-covid-19-en-espanol/\" target=\"_blank\" rel=\"noopener noreferrer\">Recursos de apoyo para covid-19\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://socoemergency.org/emergencia/novel-coronavirus/cuerpo-y-mentes-sanas/salud-mental/\" target=\"_blank\" rel=\"noopener noreferrer\">Salud mental y bienestar durante covid-1\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://laclinica.org/service/behavioral-health/\" target=\"_blank\" rel=\"noopener noreferrer\">La Clinica de la Raza Casa del Sol\u003c/a> (condado de Alameda)\u003c/li>\n\u003cli>\u003ca href=\"https://ifrsf.org/es/programs/la-clinica/\" target=\"_blank\" rel=\"noopener noreferrer\">Instituto Familiar de la Raza\u003c/a> (condado de San Francisco)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>Si desea ver el proyecto cuando se publique, suscríbase al boletín de KQED en Español en el siguiente formulario.\u003c/em>\u003cbr />\n\u003ca id=\"covidcallout\">\u003c/a>\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/JHxTodWy\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp> \u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n",
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"excerpt": "KQED está creando un espacio conmemorativo en línea en honor a aquellos que hemos perdido a causa de covid-19. Si usted le gustaría conmemorar a una persona, le invitamos a que comparta su historia con nosotros.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>En colaboración con usted, KQED Arts & Culture está trabajando en un proyecto de conmemoración en honor a residentes del Área de la Bahía que nos han dejado a causa de covid-19.\u003c/p>\n\u003cp>Si tiene un ser querido que le gustaría que estuviera en esta conmemoración, \u003ca href=\"#covidcallout\">puede llenar el formulario al final del artículo.\u003c/a>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13883905/pay-tribute-to-your-loved-one-in-kqeds-covid-19-memorial\" target=\"_blank\" rel=\"noopener noreferrer\">Read in English\u003c/a>\u003c/em>\u003c/p>\n\u003ch3>¿Por qué estamos haciendo este proyecto?\u003c/h3>\n\u003cp>Por medio de estas memorias colectivas, planeamos crear y apoyar a la comunidad de personas que se encuentran de luto por la pérdida de un ser querido por covid-19. Les queremos ofrecer un espacio para recordar, vivir el duelo, conectarse el uno con el otro, y eliminar la soledad en proceso de pérdida.\u003c/p>\n\u003cp>Nos comprometemos a leer cada memoria y le pediremos su permiso antes de compartir cualquier cosa públicamente.\u003c/p>\n\u003ch3>¿Cómo puedo compartir la memoria de mi ser querido?\u003c/h3>\n\u003cul>\n\u003cli>Los momentos especiales de la persona: ¿Qué es algo que nunca va a olvidar de su ser querido? ¿Qué le gustaría que se recordara de su ser querido? ¿Cuál es la historia de la persona?\u003c/li>\n\u003cli>Una foto (proporcionada por la persona que envíe la historia) que será publicada en nuestro espacio de conmemoración junto con los seres queridos de otras personas.\u003c/li>\n\u003c/ul>\n\u003cp>Si usted se encuentra de luto en este momento y está buscando apoyo, puede visitar la siguiente lista de recursos:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://espanol.cdc.gov/coronavirus/2019-ncov/daily-life-coping/stress-coping/grief-loss.html\" target=\"_blank\" rel=\"noopener noreferrer\">El dolor y la pérdida durante la pandemia de covid-19\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://good-grief.org/recursos-de-apoyo-para-covid-19-en-espanol/\" target=\"_blank\" rel=\"noopener noreferrer\">Recursos de apoyo para covid-19\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://socoemergency.org/emergencia/novel-coronavirus/cuerpo-y-mentes-sanas/salud-mental/\" target=\"_blank\" rel=\"noopener noreferrer\">Salud mental y bienestar durante covid-1\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://laclinica.org/service/behavioral-health/\" target=\"_blank\" rel=\"noopener noreferrer\">La Clinica de la Raza Casa del Sol\u003c/a> (condado de Alameda)\u003c/li>\n\u003cli>\u003ca href=\"https://ifrsf.org/es/programs/la-clinica/\" target=\"_blank\" rel=\"noopener noreferrer\">Instituto Familiar de la Raza\u003c/a> (condado de San Francisco)\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>Si desea ver el proyecto cuando se publique, suscríbase al boletín de KQED en Español en el siguiente formulario.\u003c/em>\u003cbr />\n\u003ca id=\"covidcallout\">\u003c/a>\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/JHxTodWy\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp> \u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\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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"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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"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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"politicalbreakdown": {
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"title": "Political Breakdown",
"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",
"title": "Radiolab",
"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": {
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"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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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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