Sam Lefebvre is an award-winning reporter at KQED Arts. He has worked as an editor and columnist at the East Bay Express, SF Weekly and Impose Magazine, and his journalism and criticism has appeared in The New York Times, the Guardian and Pitchfork.
How San Francisco Punk Reacted to Dianne Feinstein in the 1970s
SFMOMA Faces Censorship, Racism Accusations Over George Floyd Response
CCA Delays COVID-19 Safety, Remote Work Negotiations in Union Dispute
With No Timeline for Reopening, SF’s Independent Venues Seek Lifeline
YBCA Launches ‘Artist Power Center’ Resource for Financially Struggling Artists
With Bookstores Closed, a 50-Year-Old Independent Book Distributor Perseveres
A Shipping Container Painting and a Pandemic
SF Symphony Cancels 2019-20 Season, Moves Michael Tilson Thomas Farewell Online
Many Musicians Exempt From Controversial Gig-Worker Law Under Proposed Changes
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"title": "How San Francisco Punk Reacted to Dianne Feinstein in the 1970s",
"headTitle": "How San Francisco Punk Reacted to Dianne Feinstein in the 1970s | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article was originally published in 2018.\u003c/em>\u003c/p>\n\u003cp>In the fall of 1978, the San Francisco punk scene was thriving. Shows occurred at least once a week at the Mabuhay Gardens, a Filipino supper club in North Beach, and satellite venues such as the Deaf Club and 330 Grove opened and closed amid police harassment in other parts of the city.\u003c/p>\n\u003cp>But there was something different about San Francisco’s strain of punk. According to historian Michael Stewart Foley, San Francisco boasted the most politically active punk scene in the country. Bands such as The Dils parsed tax policy in underground rags like \u003cem>Search & Destroy\u003c/em>, Crime satirized authority in cop drag, and groups including the Avengers and Mutants rallied to support striking coal miners in Kentucky. \u003c/p>\n\u003cp>A new group called the Dead Kennedys courted controversy by booking a show on the November anniversary of their namesake’s assassination, provoking the ire of \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen. But then fresh tragedies seized the headlines: a mass murder-suicide on Nov. 18 in Guyana, killing more than 900 followers of onetime San Francisco political darling Jim Jones, followed nine days later by Dan White’s slaying of his former Board of Supervisors colleague Harvey Milk and San Francisco Mayor George Moscone on Nov. 27. \u003c/p>\n\u003cfigure id=\"attachment_13845665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg\" alt=\"At left, the front page of the San Francisco Examiner after the "White Night" riots followed Dan White's voluntary manslaughter verdict; at right, the cover of the Dead Kennedys' 'Fresh Fruit for Rotting Vegetables.'.\" width=\"800\" height=\"349\" class=\"size-medium wp-image-13845665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-768x335.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1020x445.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1200x523.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage.jpg 1850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, the front page of the San Francisco Examiner after the “White Night” riots followed Dan White’s voluntary manslaughter verdict; at right, the cover of the Dead Kennedys’ ‘Fresh Fruit for Rotting Vegetables.’. \u003ccite>(SFPOA/Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaths of progressive Moscone and gay rights icon Milk created the political landscape lambasted on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, the Dead Kennedys’ debut album and arguably the city’s first punk full-length. Dianne Feinstein succeeded Moscone as mayor, inaugurating a developer- and police-friendly administration. White, a scion of old San Francisco and former cop, was sentenced to seven years in prison. He served five. “I fought the law,” sang Dead Kennedys bandleader Jello Biafra, “and \u003cem>I won\u003c/em>.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Foley’s book on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, \u003ca href=\"https://www.bloomsbury.com/us/dead-kennedys-fresh-fruit-for-rotting-vegetables-9781623567309/\">published\u003c/a> in 2015 as part of the 33 1/3 series, \u003ca href=\"https://www.eastbayexpress.com/oakland/dead-kennedys-and-the-season-of-the-witch/Content?oid=4330654\">contextualizes\u003c/a> the Dead Kennedys’ landmark album in this dark, tumultuous period.\u003c/p>\n\u003cp>Foley, a scholar and researcher who’s published books on draft resistance and student activism, is currently working on a broader history of 1970s San Francisco punk. Below, in an interview edited for length and clarity, he discusses the effects of the deaths and trial on the scene. \u003c/p>\n\u003cfigure id=\"attachment_13845664\" class=\"wp-caption aligncenter\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg\" alt=\"A flyer for a 'Nix on 6' benefit at Mabuhay Gardens.\" width=\"711\" height=\"445\" class=\"size-full wp-image-13845664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer-160x100.jpg 160w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a ‘Nix on 6’ benefit at Mabuhay Gardens.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How were Harvey Milk and George Moscone connected to the city’s punk scene? \u003c/strong>\u003c/p>\n\u003cp>Many of the punks from that time have nice things to say about Moscone. They remember his daughter, Jennifer, coming to shows at the Mabuhay. And Milk did go to the Mabuhay for a benefit for the No On 6 campaign, the anti-Briggs Initiative. [The failed proposition would’ve banned gays and lesbians from working in public schools.] It was headlined by Crime, and Milk was the MC. We know he appreciated punk’s political engagement with the Briggs Initiative.\u003c/p>\n\u003cp>\u003cstrong>How much overlap was there between the city’s punk and LGBTQ cultures?\u003c/strong>\u003c/p>\n\u003cp>There’s incredible overlap, but it’s complex. You had gay punks who lived in the Castro or spent time at the clubs there, and some knew Harvey Milk. When [415 Records cofounder] Howie Klein moved to San Francisco, Milk loaned him a camera and gave him free darkroom time. But there was also a younger LGBTQ community that didn’t feel so welcome in the Castro. Some of them, gay men I’ve spoken to, refer to the Castro clones, who were kind of upwardly mobile or more respectable. So there’s tension, but people move between the disco and punk scenes, too.\u003c/p>\n\u003cfigure id=\"attachment_13845668\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg\" alt=\"San Francisco punk band Crime, who often performed in police uniforms.\" width=\"621\" height=\"389\" class=\"size-full wp-image-13845668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits-160x100.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco punk band Crime, who often performed in police uniforms. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Moscone’s murder leads to Dianne Feinstein becoming the mayor of San Francisco. After she assumed power, how did the police department’s approach to the punk scene change?\u003c/strong>\u003c/p>\n\u003cp>In the memories of nearly all the punks that I’ve spoken to, there’s an almost immediate change in the police’s handling of crowds outside of the Mabuhay. They’re rolling up, harassing people, arresting people. There’s a kind of raid on the club, in which even Ness Aquino, the owner, is arrested. That’s a week or so after Feinstein takes office. \u003c/p>\n\u003cp>\u003cstrong>And then she’s blamed for the police preemptively shutting down an Avengers show, right?\u003c/strong>\u003c/p>\n\u003cp>Right. The Avengers and the Mutants were going to do a show at the Art Institute in February of ’79, and \u003ca href=\"http://www.sfmutants.com/800chestnut.html\">the show posters used bondage imagery and partially naked women\u003c/a>. Feinstein’s papers aren’t open for research, so I still have questions, but the word was that she took offense. The posters were all over North Beach, and maybe up closer to her home in Pacific Heights. \u003c/p>\n\u003cp>So the police padlocked the venue the night of the show. Eventually there was a makeup show, with alternate versions of the poster criticizing Feinstein for censorship. There was a definite sense by that point that as part of cleaning up San Francisco, she had it in for the punks. \u003c/p>\n\u003cfigure id=\"attachment_13845666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg\" alt=\"Part of the insert booklet for 'Fresh Fruit for Rotting Vegetables,' with extensive criticism of the Dan White verdict.\" width=\"800\" height=\"517\" class=\"size-medium wp-image-13845666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the insert booklet for ‘Fresh Fruit for Rotting Vegetables,’ with extensive criticism of the Dan White verdict. \u003ccite>(Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Fresh Fruit for Rotting Vegetables\u003c/em> is arguably the San Francisco punk scene’s first full-length statement, and Feinstein is sort of the album’s antagonist, right?\u003c/strong>\u003c/p>\n\u003cp>She’s certainly the antagonist. She’s the target in “Let’s Lynch the Landlord.” The song could’ve been called “Let’s Lynch the Mayor.” They felt contempt for her as a landlord mayor, married to a real-estate developer, and as a mayor friendly to the police. Jerry Brown is also present on the album, in “California Über Alles.” There’s a consistent thread of criticizing liberals on the record. \u003c/p>\n\u003cp>\u003cem>Watch news coverage of Jello Biafra’s 1979 campaign to unseat Dianne Feinstein as Mayor of San Francisco:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jvjpoy0q66w\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>We’re also talking about the wake of Jonestown, this tragedy overseen by someone who was closely tied to the city’s political establishment. Do you think Jonestown connects to the punk scene’s disenchantment with the city’s more traditional sort of progressivism? \u003c/strong>\u003c/p>\n\u003cp>It’s a good question. I only get vague answers about the scene’s interaction with Jim Jones or the Peoples Temple, although it was next door to Temple Beautiful, which had a lot of punk shows. To them, Jonestown was at least confirmation of certain pathologies in American society, but not something they associated necessarily with a liberal political regime. \u003c/p>\n\u003cp>\u003cstrong>How does \u003cem>Fresh Fruit\u003c/em>’s cover reference Dan White?\u003c/strong>\u003c/p>\n\u003cp>The verdict in his trial began the White Night riots. Punks participated. A couple people have told me they were among the first to throw bricks through the windows of City Hall. They were definitely among the first to set police cars on fire, which show up in these iconic \u003cem>Examiner\u003c/em> photos and then on the cover of \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>. Paired with the font of the band’s name, it has this kind of Kristallnacht look, which was a deliberate provocation. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D9lmj8fO64k\u003c/p>\n\u003cp>\u003cstrong>Did other local bands address the killings? \u003c/strong>\u003c/p>\n\u003cp>Yeah. There were benefits for punks arrested during the riots. Tuxedomoon is a good example. Steven Brown from Tuxedomoon was a fiercely political guy and also gay. He had moved to San Francisco from Chicago, where he was involved in a lot of student activism. When the White trial was taking place, they did these performances of ‘19th Nervous Breakdown’ where they read testimony from the newspapers. They also did ‘(Special Treatment for the) Family Man.’ Like the Dead Kennedys version of ‘I Fought the Law,’ it was specifically about Dan White. \u003c/p>\n\u003cp>Another Tuxedomoon song, which has never been released, was called, ‘Dianne, Your Slip is Showing.’ It basically suggests what a lot of punks have relayed to me over the years: that the killings seemed like an orchestrated conspiracy. Most of them consider White killing Moscone and Milk, the verdict, and Feinstein’s rise a win for cops and landlords, if not a right-wing coup.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Historian Michael Stewart Foley discusses the effects of Dianne Feinstein's rise to power on the San Francisco punk scene. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article was originally published in 2018.\u003c/em>\u003c/p>\n\u003cp>In the fall of 1978, the San Francisco punk scene was thriving. Shows occurred at least once a week at the Mabuhay Gardens, a Filipino supper club in North Beach, and satellite venues such as the Deaf Club and 330 Grove opened and closed amid police harassment in other parts of the city.\u003c/p>\n\u003cp>But there was something different about San Francisco’s strain of punk. According to historian Michael Stewart Foley, San Francisco boasted the most politically active punk scene in the country. Bands such as The Dils parsed tax policy in underground rags like \u003cem>Search & Destroy\u003c/em>, Crime satirized authority in cop drag, and groups including the Avengers and Mutants rallied to support striking coal miners in Kentucky. \u003c/p>\n\u003cp>A new group called the Dead Kennedys courted controversy by booking a show on the November anniversary of their namesake’s assassination, provoking the ire of \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen. But then fresh tragedies seized the headlines: a mass murder-suicide on Nov. 18 in Guyana, killing more than 900 followers of onetime San Francisco political darling Jim Jones, followed nine days later by Dan White’s slaying of his former Board of Supervisors colleague Harvey Milk and San Francisco Mayor George Moscone on Nov. 27. \u003c/p>\n\u003cfigure id=\"attachment_13845665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg\" alt=\"At left, the front page of the San Francisco Examiner after the "White Night" riots followed Dan White's voluntary manslaughter verdict; at right, the cover of the Dead Kennedys' 'Fresh Fruit for Rotting Vegetables.'.\" width=\"800\" height=\"349\" class=\"size-medium wp-image-13845665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-768x335.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1020x445.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1200x523.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage.jpg 1850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, the front page of the San Francisco Examiner after the “White Night” riots followed Dan White’s voluntary manslaughter verdict; at right, the cover of the Dead Kennedys’ ‘Fresh Fruit for Rotting Vegetables.’. \u003ccite>(SFPOA/Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaths of progressive Moscone and gay rights icon Milk created the political landscape lambasted on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, the Dead Kennedys’ debut album and arguably the city’s first punk full-length. Dianne Feinstein succeeded Moscone as mayor, inaugurating a developer- and police-friendly administration. White, a scion of old San Francisco and former cop, was sentenced to seven years in prison. He served five. “I fought the law,” sang Dead Kennedys bandleader Jello Biafra, “and \u003cem>I won\u003c/em>.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Foley’s book on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, \u003ca href=\"https://www.bloomsbury.com/us/dead-kennedys-fresh-fruit-for-rotting-vegetables-9781623567309/\">published\u003c/a> in 2015 as part of the 33 1/3 series, \u003ca href=\"https://www.eastbayexpress.com/oakland/dead-kennedys-and-the-season-of-the-witch/Content?oid=4330654\">contextualizes\u003c/a> the Dead Kennedys’ landmark album in this dark, tumultuous period.\u003c/p>\n\u003cp>Foley, a scholar and researcher who’s published books on draft resistance and student activism, is currently working on a broader history of 1970s San Francisco punk. Below, in an interview edited for length and clarity, he discusses the effects of the deaths and trial on the scene. \u003c/p>\n\u003cfigure id=\"attachment_13845664\" class=\"wp-caption aligncenter\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg\" alt=\"A flyer for a 'Nix on 6' benefit at Mabuhay Gardens.\" width=\"711\" height=\"445\" class=\"size-full wp-image-13845664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer-160x100.jpg 160w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a ‘Nix on 6’ benefit at Mabuhay Gardens.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How were Harvey Milk and George Moscone connected to the city’s punk scene? \u003c/strong>\u003c/p>\n\u003cp>Many of the punks from that time have nice things to say about Moscone. They remember his daughter, Jennifer, coming to shows at the Mabuhay. And Milk did go to the Mabuhay for a benefit for the No On 6 campaign, the anti-Briggs Initiative. [The failed proposition would’ve banned gays and lesbians from working in public schools.] It was headlined by Crime, and Milk was the MC. We know he appreciated punk’s political engagement with the Briggs Initiative.\u003c/p>\n\u003cp>\u003cstrong>How much overlap was there between the city’s punk and LGBTQ cultures?\u003c/strong>\u003c/p>\n\u003cp>There’s incredible overlap, but it’s complex. You had gay punks who lived in the Castro or spent time at the clubs there, and some knew Harvey Milk. When [415 Records cofounder] Howie Klein moved to San Francisco, Milk loaned him a camera and gave him free darkroom time. But there was also a younger LGBTQ community that didn’t feel so welcome in the Castro. Some of them, gay men I’ve spoken to, refer to the Castro clones, who were kind of upwardly mobile or more respectable. So there’s tension, but people move between the disco and punk scenes, too.\u003c/p>\n\u003cfigure id=\"attachment_13845668\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg\" alt=\"San Francisco punk band Crime, who often performed in police uniforms.\" width=\"621\" height=\"389\" class=\"size-full wp-image-13845668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits-160x100.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco punk band Crime, who often performed in police uniforms. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Moscone’s murder leads to Dianne Feinstein becoming the mayor of San Francisco. After she assumed power, how did the police department’s approach to the punk scene change?\u003c/strong>\u003c/p>\n\u003cp>In the memories of nearly all the punks that I’ve spoken to, there’s an almost immediate change in the police’s handling of crowds outside of the Mabuhay. They’re rolling up, harassing people, arresting people. There’s a kind of raid on the club, in which even Ness Aquino, the owner, is arrested. That’s a week or so after Feinstein takes office. \u003c/p>\n\u003cp>\u003cstrong>And then she’s blamed for the police preemptively shutting down an Avengers show, right?\u003c/strong>\u003c/p>\n\u003cp>Right. The Avengers and the Mutants were going to do a show at the Art Institute in February of ’79, and \u003ca href=\"http://www.sfmutants.com/800chestnut.html\">the show posters used bondage imagery and partially naked women\u003c/a>. Feinstein’s papers aren’t open for research, so I still have questions, but the word was that she took offense. The posters were all over North Beach, and maybe up closer to her home in Pacific Heights. \u003c/p>\n\u003cp>So the police padlocked the venue the night of the show. Eventually there was a makeup show, with alternate versions of the poster criticizing Feinstein for censorship. There was a definite sense by that point that as part of cleaning up San Francisco, she had it in for the punks. \u003c/p>\n\u003cfigure id=\"attachment_13845666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg\" alt=\"Part of the insert booklet for 'Fresh Fruit for Rotting Vegetables,' with extensive criticism of the Dan White verdict.\" width=\"800\" height=\"517\" class=\"size-medium wp-image-13845666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the insert booklet for ‘Fresh Fruit for Rotting Vegetables,’ with extensive criticism of the Dan White verdict. \u003ccite>(Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Fresh Fruit for Rotting Vegetables\u003c/em> is arguably the San Francisco punk scene’s first full-length statement, and Feinstein is sort of the album’s antagonist, right?\u003c/strong>\u003c/p>\n\u003cp>She’s certainly the antagonist. She’s the target in “Let’s Lynch the Landlord.” The song could’ve been called “Let’s Lynch the Mayor.” They felt contempt for her as a landlord mayor, married to a real-estate developer, and as a mayor friendly to the police. Jerry Brown is also present on the album, in “California Über Alles.” There’s a consistent thread of criticizing liberals on the record. \u003c/p>\n\u003cp>\u003cem>Watch news coverage of Jello Biafra’s 1979 campaign to unseat Dianne Feinstein as Mayor of San Francisco:\u003c/em>\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/jvjpoy0q66w'\n title='//www.youtube.com/embed/jvjpoy0q66w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>We’re also talking about the wake of Jonestown, this tragedy overseen by someone who was closely tied to the city’s political establishment. Do you think Jonestown connects to the punk scene’s disenchantment with the city’s more traditional sort of progressivism? \u003c/strong>\u003c/p>\n\u003cp>It’s a good question. I only get vague answers about the scene’s interaction with Jim Jones or the Peoples Temple, although it was next door to Temple Beautiful, which had a lot of punk shows. To them, Jonestown was at least confirmation of certain pathologies in American society, but not something they associated necessarily with a liberal political regime. \u003c/p>\n\u003cp>\u003cstrong>How does \u003cem>Fresh Fruit\u003c/em>’s cover reference Dan White?\u003c/strong>\u003c/p>\n\u003cp>The verdict in his trial began the White Night riots. Punks participated. A couple people have told me they were among the first to throw bricks through the windows of City Hall. They were definitely among the first to set police cars on fire, which show up in these iconic \u003cem>Examiner\u003c/em> photos and then on the cover of \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>. Paired with the font of the band’s name, it has this kind of Kristallnacht look, which was a deliberate provocation. \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/D9lmj8fO64k'\n title='//www.youtube.com/embed/D9lmj8fO64k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Did other local bands address the killings? \u003c/strong>\u003c/p>\n\u003cp>Yeah. There were benefits for punks arrested during the riots. Tuxedomoon is a good example. Steven Brown from Tuxedomoon was a fiercely political guy and also gay. He had moved to San Francisco from Chicago, where he was involved in a lot of student activism. When the White trial was taking place, they did these performances of ‘19th Nervous Breakdown’ where they read testimony from the newspapers. They also did ‘(Special Treatment for the) Family Man.’ Like the Dead Kennedys version of ‘I Fought the Law,’ it was specifically about Dan White. \u003c/p>\n\u003cp>Another Tuxedomoon song, which has never been released, was called, ‘Dianne, Your Slip is Showing.’ It basically suggests what a lot of punks have relayed to me over the years: that the killings seemed like an orchestrated conspiracy. Most of them consider White killing Moscone and Milk, the verdict, and Feinstein’s rise a win for cops and landlords, if not a right-wing coup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Updated June 4, 3:15pm\u003c/i>\u003c/p>\n\u003cp>On Saturday, Taylor Brandon was at home in Oakland, resting after protests against the police killing of George Floyd roiled her hometown. She decided to check in on the social media presence of her former employer, the San Francisco Museum of Modern Art. Brandon, who is black, had quit as a communications associate in April after experiencing racism in the workplace, and she was frustrated to find her former employer addressing the extrajudicial killing of Floyd only indirectly.\u003c/p>\n\u003cp>On Instagram, SFMOMA had posted a picture of New York conceptual artist Glenn Ligon’s \u003cem>We’re Black and Strong (I)\u003c/em>, a 1996 screenprint showing raised fists and a white banner inspired by the previous year’s Million Man March in Washington, D.C. “I was taken aback,” she said in an interview. “SFMOMA, you can’t use the work of black artists to make a statement you should make. You can’t stand behind the work of black people to do the work you need to do inside.”\u003c/p>\n\u003cp>Brandon, the only black employee in the marketing and communications department when she quit, left a comment on the post calling it a “cop out,” writing that the museum has a “history of using black pain for their own financial gain.” What happened next strengthened her view that museum leadership is afraid to discuss racism: The comment was deleted, and all comments were disabled. “It was very true of my experience there—speak out and be silenced,” Brandon said.\u003c/p>\n\u003cfigure id=\"attachment_13881263\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png\" alt=\"SFMOMA's labor union account calls the museum's deletion of Brandon's comment racist censorship.\" width=\"1870\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA’s labor union account calls the museum’s deletion of Brandon’s comment racist censorship.\u003c/figcaption>\u003c/figure>\n\u003cp>SFMOMA’s labor union, OPEIU Local 29, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\">shared screenshots\u003c/a> of Brandon’s deleted comment over the weekend, calling it an act of racist censorship. And the outcry is catching on: Brandon and the \u003ca href=\"https://www.nurecollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nure Collective\u003c/a>, a group of 11 black artists in Oakland and San Francisco who’d been hired to create content for SFMOMA’s “#MuseumfromHome” initiative, on Tuesday issued an open letter condemning the museum’s actions and demanding several restorative measures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brandon and the collective are calling for SFMOMA to publicly apologize to all current and past black employees; re-examine complaints of racial and other forms of bias; consider replacing senior marketing staff who they say have exhibited racial bias; create a permanent gallery space dedicated to featuring the work of black artists; create a program to advance black curators; and make donations to memorial funds for George Floyd and Tony McDade. (Read the entire list of demands and letter \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>On Monday, SFMOMA \u003ca href=\"https://www.instagram.com/p/CA512AMld1s/\" target=\"_blank\" rel=\"noopener noreferrer\">issued a statement\u003c/a> on Instagram saying its post from Saturday “should have more directly expressed our sadness and outrage as an institution at the ongoing trauma and violence that continues to disproportionately affect Black lives.” The statement names Floyd and other black people killed by police and vows to foster change within the organization.\u003c/p>\n\u003cp>The response is “too little, too late,” Brandon said. “They’re trying to save themselves.”\u003c/p>\n\u003cp>Nan Keeton, SFMOMA’s deputy director of external relations, elaborated on the museum’s decision to delete Brandon’s comment at a staff meeting Tuesday. Because Brandon’s comment named senior museum leadership figures and included the phrase “museums kill black people too,” SFMOMA deemed the remarks “potential threats” that “target individuals,” Keeton said in a video acquired by KQED. “This language threatens the safety of the museum and its staff,” she said.\u003c/p>\n\u003cp>Brandon, after seeing the video of the staff meeting, described Keeton’s statement as a bad-faith misreading of her comments that continues a legacy of casting black people as threatening figures. “I was struck by the choice not to use my name. I mean, Nan has met my mom,” she said. “It’s more of this narrative that I’m a part of the violence of this moment.”\u003c/p>\n\u003cfigure id=\"attachment_13881265\" class=\"wp-caption aligncenter\" style=\"max-width: 1868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png\" alt=\"Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\" width=\"1868\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png 1868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1868px) 100vw, 1868px\">\u003cfigcaption class=\"wp-caption-text\">Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists commissioned by the museum for online programming are registering their objections to SFMOMA’s treatment of Brandon. Local artist Leila Weefur and writer Elena Gross, with the Heavy Breathing collective, refused to continue with planned museum-sponsored programming unless SFMOMA posted their statement online, verbatim. \u003ca href=\"https://www.instagram.com/p/CA8YqBPljd7/\" target=\"_blank\" rel=\"noopener noreferrer\">The resulting post\u003c/a> features a black square with the centered phrase, “Uncensor Black Narratives,” an image Weefur created.\u003c/p>\n\u003cp>“SFMOMA’s apology fails to acknowledge that their act of censorship, in deleting and disabling comments on their May 30th post, is a silencing act that is complicit with and enables systemized violence against Black individuals,” the statement reads in part. “Heavy Breathing, Weefur and Gross support criticism of the museum’s initial media response to the protests.”\u003c/p>\n\u003cp>Brandon, who aims to find work as a curator, said SFMOMA’s reactions to her and others’ criticisms follow a crisis management approach familiar from her own time at the museum as a communications professional. “It’s always, how can we remain in conversation but not rock the boat? How can we not upset our donors and remain neutral? But museums aren’t neutral.”\u003c/p>\n\u003cp>SFMOMA, which has been closed since March 14, in late March \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> plans to lay off or furlough hundreds of workers. After receiving a $6.2 million federal loan, the museum committed to retaining workers through June 30. In April, staff launched a \u003ca href=\"https://www.change.org/p/san-francisco-museum-of-modern-art-open-letter-calling-on-sfmoma-to-retain-staff-during-covid-19-crisis?\" target=\"blank\" rel=\"noopener noreferrer\">petition\u003c/a> calling on leadership to forego pay, among other demands.\u003c/p>\n\u003cp>On the morning of June 4, SFMOMA posted \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">a letter of apology\u003c/a> to Brandon from museum director Neal Benezra on its Instagram page. “Taylor was right,” Benezra’s letter says. “The decision to limit comments was not consistent with our values as a museum.” He apologizes for the “pain and anger” the museum’s decision to delete and disable comments has caused current and past black employees and SFMOMA’s community, writing, “I take full responsibility for the museum’s actions.” \u003c/p>\n\u003cfigure id=\"attachment_13881409\" class=\"wp-caption aligncenter\" style=\"max-width: 1627px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png\" alt=\"\" width=\"1627\" height=\"1198\" class=\"size-full wp-image-13881409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png 1627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-1020x751.png 1020w\" sizes=\"auto, (max-width: 1627px) 100vw, 1627px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA posted a letter of apology from museum director Neal Benezra to Taylor Brandon on June 4.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to include Neal Benezra’s apology from June 4.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated June 4, 3:15pm\u003c/i>\u003c/p>\n\u003cp>On Saturday, Taylor Brandon was at home in Oakland, resting after protests against the police killing of George Floyd roiled her hometown. She decided to check in on the social media presence of her former employer, the San Francisco Museum of Modern Art. Brandon, who is black, had quit as a communications associate in April after experiencing racism in the workplace, and she was frustrated to find her former employer addressing the extrajudicial killing of Floyd only indirectly.\u003c/p>\n\u003cp>On Instagram, SFMOMA had posted a picture of New York conceptual artist Glenn Ligon’s \u003cem>We’re Black and Strong (I)\u003c/em>, a 1996 screenprint showing raised fists and a white banner inspired by the previous year’s Million Man March in Washington, D.C. “I was taken aback,” she said in an interview. “SFMOMA, you can’t use the work of black artists to make a statement you should make. You can’t stand behind the work of black people to do the work you need to do inside.”\u003c/p>\n\u003cp>Brandon, the only black employee in the marketing and communications department when she quit, left a comment on the post calling it a “cop out,” writing that the museum has a “history of using black pain for their own financial gain.” What happened next strengthened her view that museum leadership is afraid to discuss racism: The comment was deleted, and all comments were disabled. “It was very true of my experience there—speak out and be silenced,” Brandon said.\u003c/p>\n\u003cfigure id=\"attachment_13881263\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png\" alt=\"SFMOMA's labor union account calls the museum's deletion of Brandon's comment racist censorship.\" width=\"1870\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA’s labor union account calls the museum’s deletion of Brandon’s comment racist censorship.\u003c/figcaption>\u003c/figure>\n\u003cp>SFMOMA’s labor union, OPEIU Local 29, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\">shared screenshots\u003c/a> of Brandon’s deleted comment over the weekend, calling it an act of racist censorship. And the outcry is catching on: Brandon and the \u003ca href=\"https://www.nurecollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nure Collective\u003c/a>, a group of 11 black artists in Oakland and San Francisco who’d been hired to create content for SFMOMA’s “#MuseumfromHome” initiative, on Tuesday issued an open letter condemning the museum’s actions and demanding several restorative measures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brandon and the collective are calling for SFMOMA to publicly apologize to all current and past black employees; re-examine complaints of racial and other forms of bias; consider replacing senior marketing staff who they say have exhibited racial bias; create a permanent gallery space dedicated to featuring the work of black artists; create a program to advance black curators; and make donations to memorial funds for George Floyd and Tony McDade. (Read the entire list of demands and letter \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>On Monday, SFMOMA \u003ca href=\"https://www.instagram.com/p/CA512AMld1s/\" target=\"_blank\" rel=\"noopener noreferrer\">issued a statement\u003c/a> on Instagram saying its post from Saturday “should have more directly expressed our sadness and outrage as an institution at the ongoing trauma and violence that continues to disproportionately affect Black lives.” The statement names Floyd and other black people killed by police and vows to foster change within the organization.\u003c/p>\n\u003cp>The response is “too little, too late,” Brandon said. “They’re trying to save themselves.”\u003c/p>\n\u003cp>Nan Keeton, SFMOMA’s deputy director of external relations, elaborated on the museum’s decision to delete Brandon’s comment at a staff meeting Tuesday. Because Brandon’s comment named senior museum leadership figures and included the phrase “museums kill black people too,” SFMOMA deemed the remarks “potential threats” that “target individuals,” Keeton said in a video acquired by KQED. “This language threatens the safety of the museum and its staff,” she said.\u003c/p>\n\u003cp>Brandon, after seeing the video of the staff meeting, described Keeton’s statement as a bad-faith misreading of her comments that continues a legacy of casting black people as threatening figures. “I was struck by the choice not to use my name. I mean, Nan has met my mom,” she said. “It’s more of this narrative that I’m a part of the violence of this moment.”\u003c/p>\n\u003cfigure id=\"attachment_13881265\" class=\"wp-caption aligncenter\" style=\"max-width: 1868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png\" alt=\"Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\" width=\"1868\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png 1868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1868px) 100vw, 1868px\">\u003cfigcaption class=\"wp-caption-text\">Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists commissioned by the museum for online programming are registering their objections to SFMOMA’s treatment of Brandon. Local artist Leila Weefur and writer Elena Gross, with the Heavy Breathing collective, refused to continue with planned museum-sponsored programming unless SFMOMA posted their statement online, verbatim. \u003ca href=\"https://www.instagram.com/p/CA8YqBPljd7/\" target=\"_blank\" rel=\"noopener noreferrer\">The resulting post\u003c/a> features a black square with the centered phrase, “Uncensor Black Narratives,” an image Weefur created.\u003c/p>\n\u003cp>“SFMOMA’s apology fails to acknowledge that their act of censorship, in deleting and disabling comments on their May 30th post, is a silencing act that is complicit with and enables systemized violence against Black individuals,” the statement reads in part. “Heavy Breathing, Weefur and Gross support criticism of the museum’s initial media response to the protests.”\u003c/p>\n\u003cp>Brandon, who aims to find work as a curator, said SFMOMA’s reactions to her and others’ criticisms follow a crisis management approach familiar from her own time at the museum as a communications professional. “It’s always, how can we remain in conversation but not rock the boat? How can we not upset our donors and remain neutral? But museums aren’t neutral.”\u003c/p>\n\u003cp>SFMOMA, which has been closed since March 14, in late March \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> plans to lay off or furlough hundreds of workers. After receiving a $6.2 million federal loan, the museum committed to retaining workers through June 30. In April, staff launched a \u003ca href=\"https://www.change.org/p/san-francisco-museum-of-modern-art-open-letter-calling-on-sfmoma-to-retain-staff-during-covid-19-crisis?\" target=\"blank\" rel=\"noopener noreferrer\">petition\u003c/a> calling on leadership to forego pay, among other demands.\u003c/p>\n\u003cp>On the morning of June 4, SFMOMA posted \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">a letter of apology\u003c/a> to Brandon from museum director Neal Benezra on its Instagram page. “Taylor was right,” Benezra’s letter says. “The decision to limit comments was not consistent with our values as a museum.” He apologizes for the “pain and anger” the museum’s decision to delete and disable comments has caused current and past black employees and SFMOMA’s community, writing, “I take full responsibility for the museum’s actions.” \u003c/p>\n\u003cfigure id=\"attachment_13881409\" class=\"wp-caption aligncenter\" style=\"max-width: 1627px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png\" alt=\"\" width=\"1627\" height=\"1198\" class=\"size-full wp-image-13881409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png 1627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-1020x751.png 1020w\" sizes=\"auto, (max-width: 1627px) 100vw, 1627px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA posted a letter of apology from museum director Neal Benezra to Taylor Brandon on June 4.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to include Neal Benezra’s apology from June 4.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "CCA Delays COVID-19 Safety, Remote Work Negotiations in Union Dispute",
"headTitle": "CCA Delays COVID-19 Safety, Remote Work Negotiations in Union Dispute | KQED",
"content": "\u003cp>Six weeks ago, as the novel coronavirus started to wreak havoc on higher education, the labor union representing adjunct professors at California College of the Arts proposed negotiating the terms of online teaching as well as COVID 19-related sick leave and other benefits. [aside postID=arts_13877073,arts_13878509,arts_13855321]\u003c/p>\n\u003cp>Union leadership expected to quickly reach an emergency agreement between faculty and the school administration, especially after the private art and design college approved a nearly identical proposal for union staff in a separate negotiation.\u003c/p>\n\u003cp>But California College of the Arts (CCA) leadership has so far refused to negotiate with the adjunct union, which represents 70 percent of the school’s overall teaching staff, igniting a tense dispute.\u003c/p>\n\u003cp>School leadership has accused the adjunct union of soliciting a work-stoppage by sharing the student union’s request to have representatives address online classes, diverting resources from the negotiations. The adjuncts in turn say the administration is seizing on a public health crisis to divide the faculty union from its members and students in an attack on academic freedom.\u003c/p>\n\u003cp>“It’s an outrageous refusal to bargain over health and safety issues on the grounds that an email represents an illegal work stoppage,” Noga Wizansky, a CCA adjunct and union steward, said in an interview. School leadership’s real aim, according to adjunct union leaders, is to deter teachers and students from sharing information and mounting joint campaigns together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nato Green, an SEIU Local 1021 negotiator, said in a statement that it’s “shocking and bizarre” for the CCA administration “to accuse our members of a ‘work stoppage’ of 5-10 minutes and to claim that they are incapable of dealing with any other pressing labor relations issue because of it.\u003c/p>\n\u003cp>“During the biggest public health and economic crisis in a century, CCA should focus on addressing the urgent challenges facing all of us instead of wasting energy meddling in the free speech rights of students, teachers and staff who are working together to make things better.”\u003c/p>\n\u003cp>Ann Wiens, CCA’s vice president of marketing and communications, said in a statement that she’s unable to comment on topics under discussion with the union. Wiens said the administration hopes the agreement with college staff can serve as a model for a similar agreement with adjunct faculty, and that in the meantime the college is adhering to existing workplace safety guidelines.\u003c/p>\n\u003cp>“Instructors frequently invite guest lecturers or other visitors to participate in their classes in support of learning outcomes, but it is not appropriate to take class time away from the students enrolled in the course for presentations unrelated to the course content,” Wiens said.\u003c/p>\n\u003cp>The conflict comes at a vulnerable time for CCA. The school is leaving its historic Oakland campus to \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">consolidate\u003c/a> in San Francisco, stirring anxieties about a shift from studio arts to design and potential workforce reductions. A related plan to begin scheduling classes on Saturdays, first announced last fall, has also proved controversial among faculty and staff.\u003c/p>\n\u003cp>Like colleges everywhere, CCA now faces discontent with the pivot to online instruction and reductions in other services, plus uncertainty about future enrollment. A petition for a partial \u003ca href=\"https://www.kqed.org/arts/13877073/art-students-demand-tuition-refunds-as-classes-go-online\">tuition refund\u003c/a> launched in March and circulated by the student union has garnered more than 1,000 signatures. And on Friday, CCA announced furloughs affecting more than 60 workers.\u003c/p>\n\u003cp>In an April 21 email, adjunct union leadership notified members that the student union, which operates without CCA’s formal recognition, wanted to have representatives briefly visit online classes.\u003c/p>\n\u003cp>The idea, according to recent graduate and student union organizer Yuri Knighten, was to broaden awareness of the student union as an information hub. “It wasn’t a campaign against school leadership at all,” Knighten said.\u003c/p>\n\u003cp>Yet school leadership “responded ferociously,” Wizanksy said. Julianne Kirgis, the associate provost, on April 23 emailed Wizansky and other members of the adjunct union’s Labor Management Committee to demand the letter’s withdrawal. Soliciting teachers to have student union representatives address their classes, Kirgis wrote, violates the adjunct union’s contract.\u003c/p>\n\u003cp>Program chairs then sent an email discouraging adjuncts from hosting student union representatives; only a handful hosted the visits. Still, the adjunct union declined to withdraw the letter, and a May 12 meeting between the Labor Management Committee and school leadership that was intended to resolve the conflict only sharpened differences, according to Wizansky.\u003c/p>\n\u003cp>Meanwhile, the adjuncts’ COVID-19 safety and remote work proposal—a “side letter,” in union terminology, meant to address conditions not anticipated by a contract—remains unaddressed.\u003c/p>\n\u003cp>The April 10 draft, reviewed by KQED, aims to ensure teachers have sufficient training and equipment to provide online instruction, and also to solidify benefits and paid leave eligibility in the event of contracting COVID-19 or caring for a family member sick with the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The adjunct union’s current contract expires June 30.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Six weeks ago, as the novel coronavirus started to wreak havoc on higher education, the labor union representing adjunct professors at California College of the Arts proposed negotiating the terms of online teaching as well as COVID 19-related sick leave and other benefits. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Union leadership expected to quickly reach an emergency agreement between faculty and the school administration, especially after the private art and design college approved a nearly identical proposal for union staff in a separate negotiation.\u003c/p>\n\u003cp>But California College of the Arts (CCA) leadership has so far refused to negotiate with the adjunct union, which represents 70 percent of the school’s overall teaching staff, igniting a tense dispute.\u003c/p>\n\u003cp>School leadership has accused the adjunct union of soliciting a work-stoppage by sharing the student union’s request to have representatives address online classes, diverting resources from the negotiations. The adjuncts in turn say the administration is seizing on a public health crisis to divide the faculty union from its members and students in an attack on academic freedom.\u003c/p>\n\u003cp>“It’s an outrageous refusal to bargain over health and safety issues on the grounds that an email represents an illegal work stoppage,” Noga Wizansky, a CCA adjunct and union steward, said in an interview. School leadership’s real aim, according to adjunct union leaders, is to deter teachers and students from sharing information and mounting joint campaigns together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nato Green, an SEIU Local 1021 negotiator, said in a statement that it’s “shocking and bizarre” for the CCA administration “to accuse our members of a ‘work stoppage’ of 5-10 minutes and to claim that they are incapable of dealing with any other pressing labor relations issue because of it.\u003c/p>\n\u003cp>“During the biggest public health and economic crisis in a century, CCA should focus on addressing the urgent challenges facing all of us instead of wasting energy meddling in the free speech rights of students, teachers and staff who are working together to make things better.”\u003c/p>\n\u003cp>Ann Wiens, CCA’s vice president of marketing and communications, said in a statement that she’s unable to comment on topics under discussion with the union. Wiens said the administration hopes the agreement with college staff can serve as a model for a similar agreement with adjunct faculty, and that in the meantime the college is adhering to existing workplace safety guidelines.\u003c/p>\n\u003cp>“Instructors frequently invite guest lecturers or other visitors to participate in their classes in support of learning outcomes, but it is not appropriate to take class time away from the students enrolled in the course for presentations unrelated to the course content,” Wiens said.\u003c/p>\n\u003cp>The conflict comes at a vulnerable time for CCA. The school is leaving its historic Oakland campus to \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">consolidate\u003c/a> in San Francisco, stirring anxieties about a shift from studio arts to design and potential workforce reductions. A related plan to begin scheduling classes on Saturdays, first announced last fall, has also proved controversial among faculty and staff.\u003c/p>\n\u003cp>Like colleges everywhere, CCA now faces discontent with the pivot to online instruction and reductions in other services, plus uncertainty about future enrollment. A petition for a partial \u003ca href=\"https://www.kqed.org/arts/13877073/art-students-demand-tuition-refunds-as-classes-go-online\">tuition refund\u003c/a> launched in March and circulated by the student union has garnered more than 1,000 signatures. And on Friday, CCA announced furloughs affecting more than 60 workers.\u003c/p>\n\u003cp>In an April 21 email, adjunct union leadership notified members that the student union, which operates without CCA’s formal recognition, wanted to have representatives briefly visit online classes.\u003c/p>\n\u003cp>The idea, according to recent graduate and student union organizer Yuri Knighten, was to broaden awareness of the student union as an information hub. “It wasn’t a campaign against school leadership at all,” Knighten said.\u003c/p>\n\u003cp>Yet school leadership “responded ferociously,” Wizanksy said. Julianne Kirgis, the associate provost, on April 23 emailed Wizansky and other members of the adjunct union’s Labor Management Committee to demand the letter’s withdrawal. Soliciting teachers to have student union representatives address their classes, Kirgis wrote, violates the adjunct union’s contract.\u003c/p>\n\u003cp>Program chairs then sent an email discouraging adjuncts from hosting student union representatives; only a handful hosted the visits. Still, the adjunct union declined to withdraw the letter, and a May 12 meeting between the Labor Management Committee and school leadership that was intended to resolve the conflict only sharpened differences, according to Wizansky.\u003c/p>\n\u003cp>Meanwhile, the adjuncts’ COVID-19 safety and remote work proposal—a “side letter,” in union terminology, meant to address conditions not anticipated by a contract—remains unaddressed.\u003c/p>\n\u003cp>The April 10 draft, reviewed by KQED, aims to ensure teachers have sufficient training and equipment to provide online instruction, and also to solidify benefits and paid leave eligibility in the event of contracting COVID-19 or caring for a family member sick with the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The adjunct union’s current contract expires June 30.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With No Timeline for Reopening, SF’s Independent Venues Seek Lifeline",
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"content": "\u003cp>When shelter-in-place orders went into effect eight weeks ago in California and the Bay Area, the booking agents, talent buyers, tour managers and promoters who comprise the live music industry scrambled to reschedule spring and summer concerts for as soon as this September. [aside postID=arts_13878116,arts_13850185,arts_13876535]\u003c/p>\n\u003cp>“Everyone went, ‘Okay, seven or eight months will be enough time,’” Tony Bedard, the independent rock and comedy promoter, said in an interview. Then came Governor Gavin Newsom’s statement that the resumption of large gatherings is dependent on the development of vaccines, which likely will not be complete until 2021. “Now with the four-phase plan,” Bedard said, “we know concerts are going to be last to restart, and I’m less confident about October every week.” \u003c/p>\n\u003cp>With local music venues’ economic hardship and uncertainty only growing more pronounced, many operators have joined the newly-formed \u003ca href=\"https://www.nivassoc.org/\">National Independent Venue Association\u003c/a> (NIVA). \u003c/p>\n\u003cp>NIVA’s 1,500 members nationwide include historic venues such as First Avenue in Minneapolis, where Prince made a name for himself; the Troubadour, a home to the 1970s Los Angeles singer-songwriter scene; and D.C.’s storied 9:30 Club. In Northern California, its members number 70 venues and promoters, a mix of small- to mid-sized venues and promoters, as well as large outfits such as Another Planet Entertainment, the Oakland-based company behind the Outside Lands music festival.\u003c/p>\n\u003cp>Bay Area venues that have signed on to NIVA include Bimbo’s 365 Club, Bottom of the Hill, Cornerstone Berkeley, DNA Lounge, the Chapel, Great American Music Hall, the Ivy Room, the UC Theatre, and many others. Local promoters such as Noise Pop, Ineffable Entertainment and the Stern Grove Festival are on board as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bedard has already cancelled or postponed some 40 shows at independent venues, including Eli’s Mile High Club, Starline Social Club and the Ivy Room. He’s one of many local promoters and talent buyers in the difficult position of trying to financially endure an industry standstill and at the same time plan for its resumption—without knowing when that will occur or what it will look like. \u003c/p>\n\u003cp>Bedard worries that smaller venues without backing from Live Nation or Goldenvoice, diversified corporations with credit lines deep enough to weather the storm (though not without layoffs), will shutter before they’re able to adapt. It could be “financially less ruinous,” Bedard said, for venues to close than to continue operating at a loss whenever the concert restrictions lift. \u003c/p>\n\u003cp>NIVA, funded in part by ticketing companies See Tickets and Lyte, has retained the lobbyist firm Akin Gump Strauss Hauer & Feld to represent its interests in Washington. In a letter to congressional leaders, NIVA board president Dayna Frank proposed various relief measures centered on tax relief, small business loan and mortgage and rent forbearance. \u003c/p>\n\u003cp>Due to public health concerns, venues were some of the first businesses to close and will be among the last to reopen, Frank’s letter explains. Yet the initial federal economic relief programs “fail to sustain an industry like ours,” it continues. “Without your help, thousands of independent venues will not survive to see the day when our doors can open to the public again.”\u003c/p>\n\u003cp>Independent venues closing could also solidify the \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">controversial expansion\u003c/a> of Live Nation and AEG, parent company of Coachella promoter Goldenvoice, into the local concert market. \u003c/p>\n\u003cp>Live Nation, which operates the Fillmore Auditorium and the Masonic, can burn $150 million a month for the rest of the year “without any concern,” company president Joe Berchtold told Billboard. And, separately from NIVA, the companies are lobbying for their own federal bailout. \u003c/p>\n\u003cp>Local promoters have concerns—not just about their unemployed workers, but also the risks of rescheduling concerts too soon and forcing repeat cancellations, not to mention overpromising fees for touring artists. If venues are only allowed to reopen with half or 25 percent capacity, for example, everyone stands to earn significantly less than initially expected. On top of it all is a big audience question: will anyone come out to shows?\u003c/p>\n\u003cp>Dan Strachota, talent buyer at the Rickshaw Stop in San Francisco, said he’s increasingly postponing fall concerts to next year, even some originally slated for this past March or April. With potential capacity limitations, he says promoters booking touring acts are striking less-risky “door deals,” where artists receive a percentage of total ticket sales rather than their usual guaranteed fee. \u003c/p>\n\u003cp>The Rickshaw Stop has joined on with NIVA, and Strachota is hopeful for some sort of federal aid. The Hayes Valley venue is ineligible for a Payroll Protection Program loan, he said, and has been denied for five other regional grants and loans. \u003c/p>\n\u003cp>Another problem is its ticketing provider, San Francisco company Eventbrite, has laid off 45 percent of its staff. “We’re doing a lot of the work they were doing now,” Strachota said, referring to customer service and refunds processing. The company, he continued, recently changed its policy nationwide to keep 100% of the money for tickets sold until five days after the shows occur. Naturally, no shows have occurred since the shelter-in-place order. \u003c/p>\n\u003cp>(KQED has contacted Eventbrite for comment.)\u003c/p>\n\u003cp>But along with federal aid, Strachota wants clarity from local and state officials around the resumption of live music, saying reopening guidelines should better distinguish between small clubs and stadiums. To that end, he’s also a member of the Independent Venue Alliance, a \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\">new group formed\u003c/a> separately from NIVA in part to represent local nightlife at San Francisco City Hall. \u003c/p>\n\u003cp>The Rickshaw Stop is raising a hardship fund for its workers, and recently sold alcohol to supporters at little more than cost, offering a free plus-one to a future gig with every curbside pickup. Strachota was happy to be reminded of the venue’s audience, and to offer some staff a day gig. “It was the first time in six weeks I woke up without a sense of dread,” Strachota said. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to more accurately reflect payouts from Eventbrite to the Rickshaw Stop. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone went, ‘Okay, seven or eight months will be enough time,’” Tony Bedard, the independent rock and comedy promoter, said in an interview. Then came Governor Gavin Newsom’s statement that the resumption of large gatherings is dependent on the development of vaccines, which likely will not be complete until 2021. “Now with the four-phase plan,” Bedard said, “we know concerts are going to be last to restart, and I’m less confident about October every week.” \u003c/p>\n\u003cp>With local music venues’ economic hardship and uncertainty only growing more pronounced, many operators have joined the newly-formed \u003ca href=\"https://www.nivassoc.org/\">National Independent Venue Association\u003c/a> (NIVA). \u003c/p>\n\u003cp>NIVA’s 1,500 members nationwide include historic venues such as First Avenue in Minneapolis, where Prince made a name for himself; the Troubadour, a home to the 1970s Los Angeles singer-songwriter scene; and D.C.’s storied 9:30 Club. In Northern California, its members number 70 venues and promoters, a mix of small- to mid-sized venues and promoters, as well as large outfits such as Another Planet Entertainment, the Oakland-based company behind the Outside Lands music festival.\u003c/p>\n\u003cp>Bay Area venues that have signed on to NIVA include Bimbo’s 365 Club, Bottom of the Hill, Cornerstone Berkeley, DNA Lounge, the Chapel, Great American Music Hall, the Ivy Room, the UC Theatre, and many others. Local promoters such as Noise Pop, Ineffable Entertainment and the Stern Grove Festival are on board as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bedard has already cancelled or postponed some 40 shows at independent venues, including Eli’s Mile High Club, Starline Social Club and the Ivy Room. He’s one of many local promoters and talent buyers in the difficult position of trying to financially endure an industry standstill and at the same time plan for its resumption—without knowing when that will occur or what it will look like. \u003c/p>\n\u003cp>Bedard worries that smaller venues without backing from Live Nation or Goldenvoice, diversified corporations with credit lines deep enough to weather the storm (though not without layoffs), will shutter before they’re able to adapt. It could be “financially less ruinous,” Bedard said, for venues to close than to continue operating at a loss whenever the concert restrictions lift. \u003c/p>\n\u003cp>NIVA, funded in part by ticketing companies See Tickets and Lyte, has retained the lobbyist firm Akin Gump Strauss Hauer & Feld to represent its interests in Washington. In a letter to congressional leaders, NIVA board president Dayna Frank proposed various relief measures centered on tax relief, small business loan and mortgage and rent forbearance. \u003c/p>\n\u003cp>Due to public health concerns, venues were some of the first businesses to close and will be among the last to reopen, Frank’s letter explains. Yet the initial federal economic relief programs “fail to sustain an industry like ours,” it continues. “Without your help, thousands of independent venues will not survive to see the day when our doors can open to the public again.”\u003c/p>\n\u003cp>Independent venues closing could also solidify the \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">controversial expansion\u003c/a> of Live Nation and AEG, parent company of Coachella promoter Goldenvoice, into the local concert market. \u003c/p>\n\u003cp>Live Nation, which operates the Fillmore Auditorium and the Masonic, can burn $150 million a month for the rest of the year “without any concern,” company president Joe Berchtold told Billboard. And, separately from NIVA, the companies are lobbying for their own federal bailout. \u003c/p>\n\u003cp>Local promoters have concerns—not just about their unemployed workers, but also the risks of rescheduling concerts too soon and forcing repeat cancellations, not to mention overpromising fees for touring artists. If venues are only allowed to reopen with half or 25 percent capacity, for example, everyone stands to earn significantly less than initially expected. On top of it all is a big audience question: will anyone come out to shows?\u003c/p>\n\u003cp>Dan Strachota, talent buyer at the Rickshaw Stop in San Francisco, said he’s increasingly postponing fall concerts to next year, even some originally slated for this past March or April. With potential capacity limitations, he says promoters booking touring acts are striking less-risky “door deals,” where artists receive a percentage of total ticket sales rather than their usual guaranteed fee. \u003c/p>\n\u003cp>The Rickshaw Stop has joined on with NIVA, and Strachota is hopeful for some sort of federal aid. The Hayes Valley venue is ineligible for a Payroll Protection Program loan, he said, and has been denied for five other regional grants and loans. \u003c/p>\n\u003cp>Another problem is its ticketing provider, San Francisco company Eventbrite, has laid off 45 percent of its staff. “We’re doing a lot of the work they were doing now,” Strachota said, referring to customer service and refunds processing. The company, he continued, recently changed its policy nationwide to keep 100% of the money for tickets sold until five days after the shows occur. Naturally, no shows have occurred since the shelter-in-place order. \u003c/p>\n\u003cp>(KQED has contacted Eventbrite for comment.)\u003c/p>\n\u003cp>But along with federal aid, Strachota wants clarity from local and state officials around the resumption of live music, saying reopening guidelines should better distinguish between small clubs and stadiums. To that end, he’s also a member of the Independent Venue Alliance, a \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\">new group formed\u003c/a> separately from NIVA in part to represent local nightlife at San Francisco City Hall. \u003c/p>\n\u003cp>The Rickshaw Stop is raising a hardship fund for its workers, and recently sold alcohol to supporters at little more than cost, offering a free plus-one to a future gig with every curbside pickup. Strachota was happy to be reminded of the venue’s audience, and to offer some staff a day gig. “It was the first time in six weeks I woke up without a sense of dread,” Strachota said. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to more accurately reflect payouts from Eventbrite to the Rickshaw Stop. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yerba Buena Center for the Arts on Tuesday launched \u003ca href=\"https://ybca.org/artist-power-center/\">Artist Power Center\u003c/a>, a web and hotline resource for artists affected by the novel coronavirus to access relief funds and peer support.\u003c/p>\n\u003cp>The national resource, supported by San Francisco software company Zendesk, relies on YBCA staff to alert artists to grants and other economic relief opportunities and provide personalized guidance. As Deborah Cullinan, YBCA’s chief executive, described the service in an interview: “As soon as we learn of something that can help you or move you forward you’re going to hear about it.” The site also includes a forum for artists to share resources amongst themselves.\u003c/p>\n\u003cp>Ninety-five percent of artists in the United States have lost income due to the COVID-19 pandemic, according to Americans for the Arts. In response, a growing number of relief funds have emerged. Yet confusing eligibility requirements and application processes pose barriers to accessing the aid, and demand is so great that most funds are depleted in days. Such hurdles threaten to restrict help to artists fluent in nonprofit argot who can monitor the web nonstop. [aside postID=arts_13876893,arts_13877348,arts_13878711]\u003c/p>\n\u003cp>Enter the Artist Power Center. YBCA, one of few major local cultural organizations to avoid staff layoffs, has committed four workers to researching opportunities and ten to provide call and text support in Spanish and English during business hours Monday–Friday. The project is funded for at least the next six months, and Cullinan hopes it will remain a useful resource after the pandemic, especially as the forum section attracts and fosters more interaction between artists.\u003c/p>\n\u003cp>YBCA has taken a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">strong\u003c/a> role in San Francisco arts advocacy, and the Power Center grows out of its own recent emergency grant initiative. Collaborating with Zoo Labs, Always Win Together and the Black Joy Parade, YBCA last month expended a $130,000 \u003ca href=\"https://www.artistsnow.us/\">fund\u003c/a> for artists who identify as women, people of color and LQBTQIA+ in a few days. “People were grateful it was easy,” Cullinan said. “So this is a quick response to help people navigate relief funds nationwide.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland curator \u003ca href=\"https://www.asharaekundayogallery.com/\">Ashara Ekundayo\u003c/a>, who worked as a consultant on the resource, said the Power Center has the potential to help mitigate the economic as well as emotional toll of the pandemic on artists. “Artists and culture workers are deeply impacted by shelter in place, and applying for grants can be a huge psychic and emotional toll,” she said. Ekundayo said she personally sought several grants unsuccessfully, acquainting her with “application anxiety.”\u003c/p>\n\u003cp>That’s one of the initial topics in the forum section, alongside “Arts Education,” “Our Well-Being” and “Word Power.” The approach is holistic, said Lucia Momoh, a Berkeley Art Museum and Pacific Film Archive curator who participated in a Power Center focus group. “It can be a resource not just for funding but the challenges that surface when you’re looking for funding.” The section currently features initial contributions by Angela Wellman and Emanuel Brown. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.samvernon.com/\">Sam Vernon\u003c/a>, an artist and California College of the Arts professor who also gave feedback on the project, believes the Power Center can reinforce mutual-aid efforts that have arisen among artists. “On social media the information comes in and out of view really quickly,” she said. “This aggregates the information with a friendly user experience.” The forum and hotline services, Vernon added, can help pierce the jargon that often stands between funders and artists. “Sometimes the person you need to talk to is just another artist who’s had the same questions.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yerba Buena Center for the Arts on Tuesday launched \u003ca href=\"https://ybca.org/artist-power-center/\">Artist Power Center\u003c/a>, a web and hotline resource for artists affected by the novel coronavirus to access relief funds and peer support.\u003c/p>\n\u003cp>The national resource, supported by San Francisco software company Zendesk, relies on YBCA staff to alert artists to grants and other economic relief opportunities and provide personalized guidance. As Deborah Cullinan, YBCA’s chief executive, described the service in an interview: “As soon as we learn of something that can help you or move you forward you’re going to hear about it.” The site also includes a forum for artists to share resources amongst themselves.\u003c/p>\n\u003cp>Ninety-five percent of artists in the United States have lost income due to the COVID-19 pandemic, according to Americans for the Arts. In response, a growing number of relief funds have emerged. Yet confusing eligibility requirements and application processes pose barriers to accessing the aid, and demand is so great that most funds are depleted in days. Such hurdles threaten to restrict help to artists fluent in nonprofit argot who can monitor the web nonstop. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enter the Artist Power Center. YBCA, one of few major local cultural organizations to avoid staff layoffs, has committed four workers to researching opportunities and ten to provide call and text support in Spanish and English during business hours Monday–Friday. The project is funded for at least the next six months, and Cullinan hopes it will remain a useful resource after the pandemic, especially as the forum section attracts and fosters more interaction between artists.\u003c/p>\n\u003cp>YBCA has taken a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">strong\u003c/a> role in San Francisco arts advocacy, and the Power Center grows out of its own recent emergency grant initiative. Collaborating with Zoo Labs, Always Win Together and the Black Joy Parade, YBCA last month expended a $130,000 \u003ca href=\"https://www.artistsnow.us/\">fund\u003c/a> for artists who identify as women, people of color and LQBTQIA+ in a few days. “People were grateful it was easy,” Cullinan said. “So this is a quick response to help people navigate relief funds nationwide.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland curator \u003ca href=\"https://www.asharaekundayogallery.com/\">Ashara Ekundayo\u003c/a>, who worked as a consultant on the resource, said the Power Center has the potential to help mitigate the economic as well as emotional toll of the pandemic on artists. “Artists and culture workers are deeply impacted by shelter in place, and applying for grants can be a huge psychic and emotional toll,” she said. Ekundayo said she personally sought several grants unsuccessfully, acquainting her with “application anxiety.”\u003c/p>\n\u003cp>That’s one of the initial topics in the forum section, alongside “Arts Education,” “Our Well-Being” and “Word Power.” The approach is holistic, said Lucia Momoh, a Berkeley Art Museum and Pacific Film Archive curator who participated in a Power Center focus group. “It can be a resource not just for funding but the challenges that surface when you’re looking for funding.” The section currently features initial contributions by Angela Wellman and Emanuel Brown. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.samvernon.com/\">Sam Vernon\u003c/a>, an artist and California College of the Arts professor who also gave feedback on the project, believes the Power Center can reinforce mutual-aid efforts that have arisen among artists. “On social media the information comes in and out of view really quickly,” she said. “This aggregates the information with a friendly user experience.” The forum and hotline services, Vernon added, can help pierce the jargon that often stands between funders and artists. “Sometimes the person you need to talk to is just another artist who’s had the same questions.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Liam Curley, warehouse manager at \u003ca href=\"https://www.spdbooks.org/\">Small Press Distribution\u003c/a> (SPD), the nation’s only nonprofit literary distributor, has for the past seven weeks worked by himself. Shipments to and from the 6,400-square-foot warehouse in Berkeley have slowed to a steady trickle. One morning recently, he parked his sedan on 7th Street. The bumper sticker says, “Driver carries no cash, they’re a poet.” He wore purple latex gloves and an N95 respirator, and walked through the dark office and kitchen towards the rows of some 350,000 books from independent publishers. The mask, Curley said, was actually a leftover from the last wildfire season. “The warehouse is very porous.”\u003c/p>\n\u003cp>Curley, 30, nodded to a cluttered desk with a computer monitor still alight, as if it had been abandoned in a hurry. “Everyone else is remote,” he said. “But you can see the ghost in the machine.” He could’ve been talking about himself: Curley plays a critical but little-seen role in the literary supply chain, especially for shut-in readers reluctant to buy on Amazon. (Curley alternates days with an assistant, Shawn El.) With bookstores closed, SPD’s revenue is down 60 percent, but he still packs more than a hundred orders daily, mainly for Amazon and direct sales. In the kitchen, a copy of the latest \u003cem>Publishers Weekly\u003c/em> declared, “Books are essential.” Curley has doubts. “Books aren’t saving lives,” he said. “But it’s really about standing together as an industry.”\u003c/p>\n\u003cp>SPD, founded in Berkeley in 1969, has weathered decades of industry consolidation to persevere as one of few distributors still committed to small publishers. It markets and distributes titles from some 400 presses, selling to independent and college bookshops, wholesalers such as Ingram, online retailers including Amazon and individuals through its own site. As a nonprofit, it also receives key grant funding. In the past 20 years, SPD has actually grown. Last year, it moved four times as many books as it did in 1999. Now, the distributor is crowdfunding to cover payroll and health insurance for 10 employees. And readers, eager to support independent literature from home, are rallying like never before to support a business with little profile outside of its industry.\u003c/p>\n\u003cfigure id=\"attachment_13879796\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Front-Sign.jpg\" alt=\"Small Press Distribution, founded in 1969, has operated out of this Berkeley warehouse since 1995.\" width=\"1920\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-1020x600.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, founded in 1969, has operated out of this Berkeley warehouse since 1995. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re a part of the literary infrastructure,” Brent Cunningham, SPD’s executive director and an author—most recently of poetry chapbook \u003cem>The Sad Songs of Hell\u003c/em> (Ugly Duckling)—said in a video interview. “You’ve got to know the art form and its economy pretty well to realize we even exist.”\u003c/p>\n\u003cp>SPD does not carry anything from the “Big Five” publishers or their imprints. It is an institution outside of the literary mainstream, with close community ties. “You can imagine most of the books we stocked early on were like this,” Curley said, retrieving a copy of Barbara Baracks’ \u003cem>No Sleep\u003c/em>, a 1977 stapled chapbook published by Bay Area language poet Lyn Hejinian’s Tuumba Press. He started volunteering eight years ago when he moved to the East Bay on the recommendation of a former writing professor, Catherine Taylor of Essay Press. In the warehouse, he was listening to KALX; the DJ played a soul record at the wrong speed. “I can never tell if that’s on purpose,” he said. Curley noted local writers often deliver copies. Most recently, the writer and visual artist Linda Norton came to restock her experimental memoir, \u003cem>Wite Out\u003c/em> (Hanging Loose Press).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the walls were shelving tips (“Unlike titles should not be stacked”) and to-do lists (“Implement Buckminster Fuller plan for the four hour workday”). Before the pandemic, SPD was open to the public for browsing. There’s a reading room with ephemera related to the organization’s history: Prints of product photos and old catalogs, snapshots from the 1995 move to the current warehouse, the last time its metal shelves were empty. Board minutes shared a cupboard with bottles of booze. Curley recalled finding Claudia Rankine’s out-of-print poetry debut recently in a neglected stack. “Maggie Nelson, Ocean Vuong—we carried their first books,” he said. “If we had one copy of everything we’ve sold, it’d be a really amazing library.”\u003c/p>\n\u003cfigure id=\"attachment_13879797\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Kitchen-wall.jpg\" alt=\"Poetry covers the walls of the breakroom at Small Press Distribution in Berkeley.\" width=\"1920\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-1020x601.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poetry covers the walls of the breakroom at Small Press Distribution in Berkeley. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boxes of current popular titles rested by the rollup door: \u003cem>The Complete Stories\u003c/em> by Surrealist artist Leonora Carrington and \u003cem>Me and Other Writing\u003c/em> by French essayist and novelist Marguerite Duras, both collections from Dorothy, a Publishing Project, one of SPD’s largest clients. Trisha Low, SPD’s publicity manager and author of the recent book \u003cem>Socialist Realism\u003c/em> (Coffee House Press), said in a video interview that Dorothy has grown with SPD, each company buoying the other. There’s also a mission-driven affinity: “Like with Aunt Lute, another one of our largest publishers, we all want to support more independent networks.” SPD has the credibility to make valued recommendations to booksellers, building camaraderie with publishers and vendors.\u003c/p>\n\u003cp>Lately, even closed stores have lent support: East Bay Booksellers committed a percentage of web sales to the distributor, and SPD has in turn offered credit to needy vendors. “Our heart and history is with the indie stores,” Cunningham said. As a largely industry-facing organization, SPD might not have the celebrity of City Lights, or even local fixtures such as Marcus Books. Yet it’s \u003ca href=\"https://www.gofundme.com/f/help-small-press-distribution-survive\">crowdfunded nearly $100,000\u003c/a>. According to Cunningham, that’s more than double individual donations received in any recent year. Direct orders have also increased, along with their size; people who might’ve ordered a couple books are buying five instead. With readers increasingly leery of not only Amazon’s industry bully tactics but also its labor practices, SPD is gaining visibility as an alternative.\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Small Press Distribution currently warehouses some 350,000 books.\" width=\"1920\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution currently warehouses some 350,000 books. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, Cunningham conceded that much of SPD’s growth has been due to Amazon, a reality that challenges the distributor’s identity. “Is the small press community a proving ground where you try your first book, then get picked up by a major?” Cunningham asked, “Does it have its own set of values and what are they? Is it supposed to be antagonistic to the larger publishing world?” For that matter, is it Amazon-like for SPD to continue operating during the pandemic? Low said the company concluded that it has an obligation to publishers continue shipping and processing payments. “But at the end of the day it’s not perfect,” she said. “It’s not perfect to have one person alone in the warehouse working their tail off.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Curley, packing slips in hand, said he feels recognized for his labor. He’s also optimistic that readers can cut ties to Amazon and invest in parallel, independent networks. In an era of one-day delivery, SPD customers are including notes with orders saying, “Take your time.” He also helped develop new safety protocols. When a new shipment arrives, he lets it sit for a day; the new coronavirus is thought to live for no more than 24 hours on cardboard. A postal carrier bounded through the rollup door, dropping off a box. “You got anything for me, bro? I know I’m early.” Curley shook his head. “It’s the same drivers every day,” he said. “Normally I’d help them load into the truck, but we’re doing social distancing. Luckily, there’s fewer boxes than usual.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Liam Curley, warehouse manager at \u003ca href=\"https://www.spdbooks.org/\">Small Press Distribution\u003c/a> (SPD), the nation’s only nonprofit literary distributor, has for the past seven weeks worked by himself. Shipments to and from the 6,400-square-foot warehouse in Berkeley have slowed to a steady trickle. One morning recently, he parked his sedan on 7th Street. The bumper sticker says, “Driver carries no cash, they’re a poet.” He wore purple latex gloves and an N95 respirator, and walked through the dark office and kitchen towards the rows of some 350,000 books from independent publishers. The mask, Curley said, was actually a leftover from the last wildfire season. “The warehouse is very porous.”\u003c/p>\n\u003cp>Curley, 30, nodded to a cluttered desk with a computer monitor still alight, as if it had been abandoned in a hurry. “Everyone else is remote,” he said. “But you can see the ghost in the machine.” He could’ve been talking about himself: Curley plays a critical but little-seen role in the literary supply chain, especially for shut-in readers reluctant to buy on Amazon. (Curley alternates days with an assistant, Shawn El.) With bookstores closed, SPD’s revenue is down 60 percent, but he still packs more than a hundred orders daily, mainly for Amazon and direct sales. In the kitchen, a copy of the latest \u003cem>Publishers Weekly\u003c/em> declared, “Books are essential.” Curley has doubts. “Books aren’t saving lives,” he said. “But it’s really about standing together as an industry.”\u003c/p>\n\u003cp>SPD, founded in Berkeley in 1969, has weathered decades of industry consolidation to persevere as one of few distributors still committed to small publishers. It markets and distributes titles from some 400 presses, selling to independent and college bookshops, wholesalers such as Ingram, online retailers including Amazon and individuals through its own site. As a nonprofit, it also receives key grant funding. In the past 20 years, SPD has actually grown. Last year, it moved four times as many books as it did in 1999. Now, the distributor is crowdfunding to cover payroll and health insurance for 10 employees. And readers, eager to support independent literature from home, are rallying like never before to support a business with little profile outside of its industry.\u003c/p>\n\u003cfigure id=\"attachment_13879796\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Front-Sign.jpg\" alt=\"Small Press Distribution, founded in 1969, has operated out of this Berkeley warehouse since 1995.\" width=\"1920\" height=\"1129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Front-Sign-1020x600.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution, founded in 1969, has operated out of this Berkeley warehouse since 1995. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re a part of the literary infrastructure,” Brent Cunningham, SPD’s executive director and an author—most recently of poetry chapbook \u003cem>The Sad Songs of Hell\u003c/em> (Ugly Duckling)—said in a video interview. “You’ve got to know the art form and its economy pretty well to realize we even exist.”\u003c/p>\n\u003cp>SPD does not carry anything from the “Big Five” publishers or their imprints. It is an institution outside of the literary mainstream, with close community ties. “You can imagine most of the books we stocked early on were like this,” Curley said, retrieving a copy of Barbara Baracks’ \u003cem>No Sleep\u003c/em>, a 1977 stapled chapbook published by Bay Area language poet Lyn Hejinian’s Tuumba Press. He started volunteering eight years ago when he moved to the East Bay on the recommendation of a former writing professor, Catherine Taylor of Essay Press. In the warehouse, he was listening to KALX; the DJ played a soul record at the wrong speed. “I can never tell if that’s on purpose,” he said. Curley noted local writers often deliver copies. Most recently, the writer and visual artist Linda Norton came to restock her experimental memoir, \u003cem>Wite Out\u003c/em> (Hanging Loose Press).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the walls were shelving tips (“Unlike titles should not be stacked”) and to-do lists (“Implement Buckminster Fuller plan for the four hour workday”). Before the pandemic, SPD was open to the public for browsing. There’s a reading room with ephemera related to the organization’s history: Prints of product photos and old catalogs, snapshots from the 1995 move to the current warehouse, the last time its metal shelves were empty. Board minutes shared a cupboard with bottles of booze. Curley recalled finding Claudia Rankine’s out-of-print poetry debut recently in a neglected stack. “Maggie Nelson, Ocean Vuong—we carried their first books,” he said. “If we had one copy of everything we’ve sold, it’d be a really amazing library.”\u003c/p>\n\u003cfigure id=\"attachment_13879797\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Kitchen-wall.jpg\" alt=\"Poetry covers the walls of the breakroom at Small Press Distribution in Berkeley.\" width=\"1920\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Kitchen-wall-1020x601.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poetry covers the walls of the breakroom at Small Press Distribution in Berkeley. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boxes of current popular titles rested by the rollup door: \u003cem>The Complete Stories\u003c/em> by Surrealist artist Leonora Carrington and \u003cem>Me and Other Writing\u003c/em> by French essayist and novelist Marguerite Duras, both collections from Dorothy, a Publishing Project, one of SPD’s largest clients. Trisha Low, SPD’s publicity manager and author of the recent book \u003cem>Socialist Realism\u003c/em> (Coffee House Press), said in a video interview that Dorothy has grown with SPD, each company buoying the other. There’s also a mission-driven affinity: “Like with Aunt Lute, another one of our largest publishers, we all want to support more independent networks.” SPD has the credibility to make valued recommendations to booksellers, building camaraderie with publishers and vendors.\u003c/p>\n\u003cp>Lately, even closed stores have lent support: East Bay Booksellers committed a percentage of web sales to the distributor, and SPD has in turn offered credit to needy vendors. “Our heart and history is with the indie stores,” Cunningham said. As a largely industry-facing organization, SPD might not have the celebrity of City Lights, or even local fixtures such as Marcus Books. Yet it’s \u003ca href=\"https://www.gofundme.com/f/help-small-press-distribution-survive\">crowdfunded nearly $100,000\u003c/a>. According to Cunningham, that’s more than double individual donations received in any recent year. Direct orders have also increased, along with their size; people who might’ve ordered a couple books are buying five instead. With readers increasingly leery of not only Amazon’s industry bully tactics but also its labor practices, SPD is gaining visibility as an alternative.\u003c/p>\n\u003cfigure id=\"attachment_13879807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg\" alt=\"Small Press Distribution currently warehouses some 350,000 books.\" width=\"1920\" height=\"1095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/SPD-Warehouse-Overview-Better-1020x582.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Small Press Distribution currently warehouses some 350,000 books. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, Cunningham conceded that much of SPD’s growth has been due to Amazon, a reality that challenges the distributor’s identity. “Is the small press community a proving ground where you try your first book, then get picked up by a major?” Cunningham asked, “Does it have its own set of values and what are they? Is it supposed to be antagonistic to the larger publishing world?” For that matter, is it Amazon-like for SPD to continue operating during the pandemic? Low said the company concluded that it has an obligation to publishers continue shipping and processing payments. “But at the end of the day it’s not perfect,” she said. “It’s not perfect to have one person alone in the warehouse working their tail off.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curley, packing slips in hand, said he feels recognized for his labor. He’s also optimistic that readers can cut ties to Amazon and invest in parallel, independent networks. In an era of one-day delivery, SPD customers are including notes with orders saying, “Take your time.” He also helped develop new safety protocols. When a new shipment arrives, he lets it sit for a day; the new coronavirus is thought to live for no more than 24 hours on cardboard. A postal carrier bounded through the rollup door, dropping off a box. “You got anything for me, bro? I know I’m early.” Curley shook his head. “It’s the same drivers every day,” he said. “Normally I’d help them load into the truck, but we’re doing social distancing. Luckily, there’s fewer boxes than usual.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To Berkeley artist \u003ca href=\"https://deweycrumpler.com/\">Dewey Crumpler\u003c/a>, shipping containers are symbols of authority, monuments to economic and geopolitical power wrought from steel and stacked like ramparts. They’re metaphors for turnover and migration, closely associated with multicultural port cities. They sometimes seem to represent spiritual transit and the painful reverberations of history. In \u003cem>Deep Memory\u003c/em>, graphite rubbings of rectangular shapes suggest a cell-like container beneath diffuse pink and yellow pastel. The top half of the canvas has a cruelly menacing, saturated lash of black. With our movement restricted and the air a threat, its symbolism is growing more rich and pliant. [aside postID=arts_13877907,arts_13878860]\u003c/p>\n\u003cp>Crumpler probably didn’t anticipate a deadly new coronavirus when he created \u003cem>Deep Memory\u003c/em> last year, but the specter of the COVID-19 pandemic is certainly coloring artwork about globalization. The contagion has also derailed Crumpler’s professional life in 2020, postponing an exhibition at Cushion Works gallery and a 15-year survey at Richmond Art Center. The San Francisco Art Institute, where Crumpler has long worked as a painting professor, is \u003ca href=\"https://www.kqed.org/arts/13878509/the-san-francisco-art-institute-will-never-be-what-it-once-was\">coming undone\u003c/a>. Yet I encountered \u003cem>Deep Memory\u003c/em> through Crumpler’s support for another institution, in a context that calls on the past and present of global commerce. It is one of dozens of artworks donated to an \u003ca href=\"https://www.artsy.net/auction/moad-diaspora-unite-artists-of-african-descent-benefit-auction-2020\">online auction\u003c/a> benefiting the Museum of the African Diaspora in San Francisco.\u003c/p>\n\u003cp>\u003cem>The Museum of the African Diaspora’s auction closes May 5. Read more about the auction \u003ca href=\"https://www.kqed.org/arts/13878860/online-art-auction-aims-to-keep-museum-of-the-african-diaspora-afloat\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>, and see the nearly three dozen works on offer \u003ca href=\"https://www.artsy.net/auction/moad-diaspora-unite-artists-of-african-descent-benefit-auction-2020\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Crumpler probably didn’t anticipate a deadly new coronavirus when he created \u003cem>Deep Memory\u003c/em> last year, but the specter of the COVID-19 pandemic is certainly coloring artwork about globalization. The contagion has also derailed Crumpler’s professional life in 2020, postponing an exhibition at Cushion Works gallery and a 15-year survey at Richmond Art Center. The San Francisco Art Institute, where Crumpler has long worked as a painting professor, is \u003ca href=\"https://www.kqed.org/arts/13878509/the-san-francisco-art-institute-will-never-be-what-it-once-was\">coming undone\u003c/a>. Yet I encountered \u003cem>Deep Memory\u003c/em> through Crumpler’s support for another institution, in a context that calls on the past and present of global commerce. It is one of dozens of artworks donated to an \u003ca href=\"https://www.artsy.net/auction/moad-diaspora-unite-artists-of-african-descent-benefit-auction-2020\">online auction\u003c/a> benefiting the Museum of the African Diaspora in San Francisco.\u003c/p>\n\u003cp>\u003cem>The Museum of the African Diaspora’s auction closes May 5. Read more about the auction \u003ca href=\"https://www.kqed.org/arts/13878860/online-art-auction-aims-to-keep-museum-of-the-african-diaspora-afloat\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>, and see the nearly three dozen works on offer \u003ca href=\"https://www.artsy.net/auction/moad-diaspora-unite-artists-of-african-descent-benefit-auction-2020\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The San Francisco Symphony on Wednesday announced the cancellation of all concerts remaining in its 2019-20 season as well as pay cuts affecting nearly 200 workers due to shelter-in-place orders to curb the spread of the novel coronavirus. [aside postID=arts_13865435,arts_13876535,arts_13877348]\u003c/p>\n\u003cp>The move to call off programming through Aug. 1 brings the symphony’s total number of canceled events to 64 and represents a step further than most arts presenters have taken. It comes a day after California Governor Gavin Newsom said at a press conference that concerts won’t resume until the final phase of reopening the economy—still months away.\u003c/p>\n\u003cp>Because the season marks the end of Michael Tilson Thomas’ quarter century tenure as music director, the symphony is also launching a 25-day “digital celebration” of his career. In a statement, Thomas said that the season’s cancellation saddens him greatly. “We would have been performing essential works in which we have developed our special sound, style and collaboration.”\u003c/p>\n\u003cp>The symphony has been dormant since the second week of March, when local officials forbade non-essential gatherings in city-owned facilities. According to the announcement, the symphony faces more than $13 million in lost revenue and $5.4 million in net losses due to the cancellations of Davies Symphony Hall and SoundBox events as well as a three-week tour to New York and Europe.\u003c/p>\n\u003cp>To counter the losses, the symphony is implementing what leadership in the statement call “shared sacrifice” reductions: Stagehands, staff and members of the orchestra and chorus have agreed to salary reductions averaging 25 percent in effect from April 19 to Sept. 5. Thomas will not be compensated for canceled concerts. All workers retain healthcare and insurance benefits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A symphony spokesperson confirmed the pay reductions impact nearly 200 workers, saying senior leadership is taking the “highest cuts.” The spokesperson also said the organization applied for and has received funds through the federal CARES Act.\u003c/p>\n\u003cp>In a statement, chief executive Mark Hanson described the plan as balancing individual and institutional needs. “Our top priority from the very beginning of the COVID-19 pandemic has been to take care of the people who are the San Francisco Symphony family,” Hanson said.\u003c/p>\n\u003cp>Like most performing arts groups, the symphony is encouraging ticketholders to donate the cost of their tickets or to ask for a gift certificate for the value of their tickets. A group of board members and donors have pledged to match ticket donations through an initial $1 million fund.\u003c/p>\n\u003cp>According to its 2018-19 season impact report, the symphony derives 35 percent of its operating revenue from ticket sales and runs on an $80 million annual budget. The nonprofit organization disclosed net assets worth $321,864,438 on its most recent publicly available tax return form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco arts organizations project losing up to $73 million in earned income and donations if—as the symphony is now anticipating—the novel coronavirus crisis proceeds through the summer, according to the results of a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey\u003c/a> of 145 local groups released in March.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The move to call off programming through Aug. 1 brings the symphony’s total number of canceled events to 64 and represents a step further than most arts presenters have taken. It comes a day after California Governor Gavin Newsom said at a press conference that concerts won’t resume until the final phase of reopening the economy—still months away.\u003c/p>\n\u003cp>Because the season marks the end of Michael Tilson Thomas’ quarter century tenure as music director, the symphony is also launching a 25-day “digital celebration” of his career. In a statement, Thomas said that the season’s cancellation saddens him greatly. “We would have been performing essential works in which we have developed our special sound, style and collaboration.”\u003c/p>\n\u003cp>The symphony has been dormant since the second week of March, when local officials forbade non-essential gatherings in city-owned facilities. According to the announcement, the symphony faces more than $13 million in lost revenue and $5.4 million in net losses due to the cancellations of Davies Symphony Hall and SoundBox events as well as a three-week tour to New York and Europe.\u003c/p>\n\u003cp>To counter the losses, the symphony is implementing what leadership in the statement call “shared sacrifice” reductions: Stagehands, staff and members of the orchestra and chorus have agreed to salary reductions averaging 25 percent in effect from April 19 to Sept. 5. Thomas will not be compensated for canceled concerts. All workers retain healthcare and insurance benefits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A symphony spokesperson confirmed the pay reductions impact nearly 200 workers, saying senior leadership is taking the “highest cuts.” The spokesperson also said the organization applied for and has received funds through the federal CARES Act.\u003c/p>\n\u003cp>In a statement, chief executive Mark Hanson described the plan as balancing individual and institutional needs. “Our top priority from the very beginning of the COVID-19 pandemic has been to take care of the people who are the San Francisco Symphony family,” Hanson said.\u003c/p>\n\u003cp>Like most performing arts groups, the symphony is encouraging ticketholders to donate the cost of their tickets or to ask for a gift certificate for the value of their tickets. A group of board members and donors have pledged to match ticket donations through an initial $1 million fund.\u003c/p>\n\u003cp>According to its 2018-19 season impact report, the symphony derives 35 percent of its operating revenue from ticket sales and runs on an $80 million annual budget. The nonprofit organization disclosed net assets worth $321,864,438 on its most recent publicly available tax return form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco arts organizations project losing up to $73 million in earned income and donations if—as the symphony is now anticipating—the novel coronavirus crisis proceeds through the summer, according to the results of a \u003ca href=\"https://www.kqed.org/arts/13877348/survey-sf-arts-groups-expect-73-million-in-losses-during-coronavirus-crisis\">survey\u003c/a> of 145 local groups released in March.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Many Musicians Exempt From Controversial Gig-Worker Law Under Proposed Changes",
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"content": "\u003cp>When concerts resume in California, many musicians will have one less thing to worry about. \u003c/p>\n\u003cp>Industry groups and elected officials have reached an agreement to amend Assembly Bill 5 (AB 5), the controversial gig worker law, to exempt certain musicians and music professionals. [aside postID=arts_13871229,news_11794049,news_news_11812496]\u003c/p>\n\u003cp>AB 5 was intended to protect worker’s rights by making it more difficult for so-called “gig economy” companies such as Uber and Lyft to classify their drivers as independent contractors. \u003c/p>\n\u003cp>But the bill, signed into law in September, has drawn criticism from independent musicians who say it increases their costs and limits their opportunities for work. The pending amendments announced this month are designed to address these unintended consequences. \u003c/p>\n\u003cp>The amendments exempt musicians and music professionals whose work is primarily original and inventive, as opposed to directed by an employer. Still, AB5 will continue to apply to significant groups of musicians, including performers in orchestral, festival and theme park settings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Bay Area music community has been almost completely unified in its desire to see our state government acknowledge and address the deleterious effects of AB 5 on music industry workers,” Karl Alfonso Defensor Evangelista, an Oakland composer and improviser who’s organized local experimental musicians to oppose the law, said in a statement to KQED. \u003c/p>\n\u003cp>Evangelista said that while he awaits the final language and believes other local industries remain adversely affected by the law, he welcomes the amendments. “I speak on behalf of many of my colleagues when I say that this music exemption is a step in the right direction.”\u003c/p>\n\u003cp>Evangelista continued, “This is going to have a positive effect on a lot of musicians and institutions that are already suffering the pandemic lockdown.” \u003c/p>\n\u003cp>Kale Cumings, president of American Federation of Musicians Local 6 in San Francisco, who helped negotiate the amendment, said in an interview that the changes avoid imposing an onerous employer-employee relationship on most musicians in collaborative situations. \u003c/p>\n\u003cp>But, Cumings added, neither the law nor the changes address the lack of a safety net for freelance musicians—as this season’s concert cancellations \u003ca href=\"https://www.kqed.org/arts/13876535/classical-musicians-say-coronavirus-cancellations-are-financially-catastrophic\">have shown\u003c/a>. “The conversation it’s brought up is very important,” he said. “How to organize musicians in a way that doesn’t penalize or limit their independence but still brings them into the American workforce?”\u003c/p>\n\u003cp>AB 5, authored by San Diego assemblywoman Lorena Gonzalez, codifies a 2018 California Supreme Court decision by establishing a three part “ABC Test” to determine whether or not companies can classify workers as independent contractors. The idea is to afford many gig economy workers employee protections such as health coverage and workers compensation. \u003c/p>\n\u003cp>But the test’s requirement that freelancers perform work outside of the employer’s main business would upend the model of small music venues and nonprofit performing arts presenters. These employers would have to onboard performers as regular employees for even one season or event, and musicians found many employers would opt to reduce bookings instead of comply. \u003c/p>\n\u003cp>As a workaround, many musicians contemplated forming their own limited-liability corporations, but related expenses would eat into their already-thin profit margins. Further, this would force them to hire backing musicians as employees even for one recording session or performance, sowing confusion among collaborative ensembles and for artists who alternate as band leaders. \u003c/p>\n\u003cp>For these reasons and more, the bill drew opposition from groups including the Recording Industry Association of America, American Association of Independent Music, American Federation of Musicians and Music Artists Coalition. Most industry opponents supported the spirit of the bill while calling it ill-suited to the music recording and performance ecosystems. \u003c/p>\n\u003cp>After more than a year of consulting with the industry, Gonzalez and the groups announced the exemptions on April 17. The “new amendments will acknowledge and add to the existing flexibility California has allowed in the music industry while protecting the right for musicians to have basic employment protections just like every other worker,” Gonzalez said in a statement. \u003c/p>\n\u003cp>The amendment broadly relieves musicians, composers, songwriters, engineers and others involved in the music production process of applying the law’s ABC test. They can continue to use a previous standard for determining if someone is an employee known as the Borello test, which mainly hinges on whether or not a worker controls the manner and means of the work.\u003c/p>\n\u003cp>The amendment also applies the previous, less-strict test to musicians in standalone live performances, unless they’re a part of a group headlining at a concert venue with more than 1,500 attendees or performing at a music festival that draws more than 18,000 attendees. In other words, AB-5 would apply to performers at, say, Outside Lands or the Bill Graham Civic Auditorium. \u003c/p>\n\u003cp>Then there’s the exemptions from the exemption: Musical groups regularly performing at theme parks, and musicians in symphony orchestras, performing as a part of a tour or performing in a musical theater production are still subject to the AB 5 standard. The reason, according to Gonzalez’s statement, is these musicians are significantly controlled or directed by employers.\u003c/p>\n\u003cp>“The amendment appropriately narrows the effect of AB5 to clarify that music professionals, due to the unique nature of our business, cannot be treated as an employer every time they collaborate,” Mich Glazier, chairman and chief executive of the Recording Industry Association of American, said in a statement. \u003c/p>\n\u003cp>“Having worked personally with every stakeholder in the process for the last year, I can say that each elected official, coalition, association, union and individual working on behalf of their constituency truly cared about not only the members they work to protect, but also our industry as a whole,” added Jordan Bromley, a Music Artists Coalition board member, in a statement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The amendments will be voted on when the legislature reconvenes. If passed, they would go into effect Jan. 1, 2021. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Bay Area music community has been almost completely unified in its desire to see our state government acknowledge and address the deleterious effects of AB 5 on music industry workers,” Karl Alfonso Defensor Evangelista, an Oakland composer and improviser who’s organized local experimental musicians to oppose the law, said in a statement to KQED. \u003c/p>\n\u003cp>Evangelista said that while he awaits the final language and believes other local industries remain adversely affected by the law, he welcomes the amendments. “I speak on behalf of many of my colleagues when I say that this music exemption is a step in the right direction.”\u003c/p>\n\u003cp>Evangelista continued, “This is going to have a positive effect on a lot of musicians and institutions that are already suffering the pandemic lockdown.” \u003c/p>\n\u003cp>Kale Cumings, president of American Federation of Musicians Local 6 in San Francisco, who helped negotiate the amendment, said in an interview that the changes avoid imposing an onerous employer-employee relationship on most musicians in collaborative situations. \u003c/p>\n\u003cp>But, Cumings added, neither the law nor the changes address the lack of a safety net for freelance musicians—as this season’s concert cancellations \u003ca href=\"https://www.kqed.org/arts/13876535/classical-musicians-say-coronavirus-cancellations-are-financially-catastrophic\">have shown\u003c/a>. “The conversation it’s brought up is very important,” he said. “How to organize musicians in a way that doesn’t penalize or limit their independence but still brings them into the American workforce?”\u003c/p>\n\u003cp>AB 5, authored by San Diego assemblywoman Lorena Gonzalez, codifies a 2018 California Supreme Court decision by establishing a three part “ABC Test” to determine whether or not companies can classify workers as independent contractors. The idea is to afford many gig economy workers employee protections such as health coverage and workers compensation. \u003c/p>\n\u003cp>But the test’s requirement that freelancers perform work outside of the employer’s main business would upend the model of small music venues and nonprofit performing arts presenters. These employers would have to onboard performers as regular employees for even one season or event, and musicians found many employers would opt to reduce bookings instead of comply. \u003c/p>\n\u003cp>As a workaround, many musicians contemplated forming their own limited-liability corporations, but related expenses would eat into their already-thin profit margins. Further, this would force them to hire backing musicians as employees even for one recording session or performance, sowing confusion among collaborative ensembles and for artists who alternate as band leaders. \u003c/p>\n\u003cp>For these reasons and more, the bill drew opposition from groups including the Recording Industry Association of America, American Association of Independent Music, American Federation of Musicians and Music Artists Coalition. Most industry opponents supported the spirit of the bill while calling it ill-suited to the music recording and performance ecosystems. \u003c/p>\n\u003cp>After more than a year of consulting with the industry, Gonzalez and the groups announced the exemptions on April 17. The “new amendments will acknowledge and add to the existing flexibility California has allowed in the music industry while protecting the right for musicians to have basic employment protections just like every other worker,” Gonzalez said in a statement. \u003c/p>\n\u003cp>The amendment broadly relieves musicians, composers, songwriters, engineers and others involved in the music production process of applying the law’s ABC test. They can continue to use a previous standard for determining if someone is an employee known as the Borello test, which mainly hinges on whether or not a worker controls the manner and means of the work.\u003c/p>\n\u003cp>The amendment also applies the previous, less-strict test to musicians in standalone live performances, unless they’re a part of a group headlining at a concert venue with more than 1,500 attendees or performing at a music festival that draws more than 18,000 attendees. In other words, AB-5 would apply to performers at, say, Outside Lands or the Bill Graham Civic Auditorium. \u003c/p>\n\u003cp>Then there’s the exemptions from the exemption: Musical groups regularly performing at theme parks, and musicians in symphony orchestras, performing as a part of a tour or performing in a musical theater production are still subject to the AB 5 standard. The reason, according to Gonzalez’s statement, is these musicians are significantly controlled or directed by employers.\u003c/p>\n\u003cp>“The amendment appropriately narrows the effect of AB5 to clarify that music professionals, due to the unique nature of our business, cannot be treated as an employer every time they collaborate,” Mich Glazier, chairman and chief executive of the Recording Industry Association of American, said in a statement. \u003c/p>\n\u003cp>“Having worked personally with every stakeholder in the process for the last year, I can say that each elected official, coalition, association, union and individual working on behalf of their constituency truly cared about not only the members they work to protect, but also our industry as a whole,” added Jordan Bromley, a Music Artists Coalition board member, in a statement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The amendments will be voted on when the legislature reconvenes. If passed, they would go into effect Jan. 1, 2021. \u003c/p>\n\n\u003c/div>\u003c/p>",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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