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"content": "\u003cp>Without getting out of bed, I chop some wood, maybe craft a fishing rod or a swinging bench. If I run out of materials, I fly to a deserted island and strip all its natural resources. No, I’m not a 17th century European colonizer — I’m just playing “Animal Crossing: New Horizons.”\u003c/p>\n\u003cp>The premise of the game is a classic life simulation, except you live on an island inhabited by really cute animals.\u003c/p>\n\u003cfigure id=\"attachment_11808797\" class=\"wp-caption alignnone\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-11808797\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/90801030_3091657380845154_8712898775540039680_o.jpg\" alt=\"\" width=\"1280\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/90801030_3091657380845154_8712898775540039680_o.jpg 1280w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/90801030_3091657380845154_8712898775540039680_o-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/90801030_3091657380845154_8712898775540039680_o-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/90801030_3091657380845154_8712898775540039680_o-1020x574.jpg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" />\u003cfigcaption class=\"wp-caption-text\">Villagers gather in my town for the opening of my new town bridge. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s not really a goal to the game, you just slowly collect furniture and clothes, and pay off your debt with a steady income of selling bugs and fish.\u003c/p>\n\u003cp>\"Animal Crossing\" has been around since the mid-2000s, but it’s more than a vessel for childhood nostalgia. Almost all the Gen Zers that I know — including myself — are playing the new release: “New Horizons.” Social media is flooded with wholesome videos and memes about how the game is helping us get through one of the most disruptive events in our collective memory.\u003c/p>\n\u003cp>https://twitter.com/mercurialHekate/status/1242444144204791808?s=20\u003c/p>\n\u003cp>https://twitter.com/_itsjackielee/status/1242676080135135232\u003c/p>\n\u003cp>It's the perfect obsession for not leaving your house.\u003c/p>\n\u003cp>One of the creators of the game even said he hopes people use “New Horizons” as an \u003ca href=\"https://www.theverge.com/2020/3/18/21185608/animal-crossing-new-horizons-nintendo-switch-coronavirus-escape-interview\">escape\u003c/a> during these hard times.\u003c/p>\n\u003cp>“['Animal Crossing'] is a lot nicer than real life in a lot of ways,” said James Rasmussen, one of my best friends from college. We live just a few miles apart from each other, but haven’t seen each other since the statewide lockdown. We connect on FaceTime over our love for \"Animal Crossing.\"\u003c/p>\n\u003cp>“It's so peaceful to be able to take some time into this really light hearted world of these little animals,” he said. “It's just been nice and chill, which I think we all need right now.”\u003cbr />\n[aside label=\"The Do (From Home) List\" link1=\"https://www.kqed.org/thedolist,A Collection of Shelter-in-Place Activities\" hero=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-1212241393_wide-5aa9105c64e197a8d3d663dd56241e616f5b5c14-1020x574.jpg\"]\u003c/p>\n\u003cp>In the past, \"Animal Crossing\" has gotten me through some rough mental health periods. When I moved from Southern California to Western Massachusetts for college, I fell into an intense seasonal depression.\u003c/p>\n\u003cp>I would stay inside my dorm for days at a time, playing a bootleg version of \"Animal Crossing: Wild World,\" listening to the soothing sleighbells of the winter soundtrack. During those short days, \"Animal Crossing\" was my main source of joy.\u003c/p>\n\u003cp>Flash forward to now, using \"Animal Crossing\" as an escape feels like second nature. But sometimes, as James mentioned, it stirs up some realistic moments that can blur reality.\u003c/p>\n\u003cp>“One of the villagers gave me the hat I always wear, and I was like so struck by this gesture,” he said. “But it's this computer animal, you know. But this action in a game can make you feel really nice and cared for. It does have such a power to comfort you.”\u003c/p>\n\u003cfigure id=\"attachment_11808790\" class=\"wp-caption alignnone\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-11808790\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42272_90603170_3090742870936605_1544660669901570048_o-qut.jpg\" alt=\"\" width=\"1280\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42272_90603170_3090742870936605_1544660669901570048_o-qut.jpg 1280w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42272_90603170_3090742870936605_1544660669901570048_o-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42272_90603170_3090742870936605_1544660669901570048_o-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42272_90603170_3090742870936605_1544660669901570048_o-qut-1020x574.jpg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" />\u003cfigcaption class=\"wp-caption-text\">James and me, just vibing out. James's face is swollen from a virtual wasp attack. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And you can actually bring your real life friends to your island, voice chat and even send each other presents. This week, James visited my island. We had a great time watching the virtual sun set on a cliff overlooking the ocean.\u003c/p>\n\u003cp>When the sun goes down, the whole music and scenescape changes into a magical evening as chill, jazzy music plays (if you want to binge listen, \u003ca href=\"https://www.youtube.com/watch?v=0637dd6uevo\">YouTube\u003c/a> has your back.)\u003c/p>\n\u003cfigure id=\"attachment_11808791\" class=\"wp-caption alignnone\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-11808791\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42273_90930460_3090744210936471_2870507608068849664_o-qut.jpg\" alt=\"\" width=\"1280\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42273_90930460_3090744210936471_2870507608068849664_o-qut.jpg 1280w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42273_90930460_3090744210936471_2870507608068849664_o-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42273_90930460_3090744210936471_2870507608068849664_o-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42273_90930460_3090744210936471_2870507608068849664_o-qut-1020x574.jpg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" />\u003cfigcaption class=\"wp-caption-text\">A tender moment between friends. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a reminder of what life can be. “I miss being able to be outside all the time,” James said. “With friends.”\u003c/p>\n\u003cp>But for now, at least we have \"Animal Crossing.\" And in these times, it’s more than enough for me.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the past, \"Animal Crossing\" has gotten me through some rough mental health periods. When I moved from Southern California to Western Massachusetts for college, I fell into an intense seasonal depression.\u003c/p>\n\u003cp>I would stay inside my dorm for days at a time, playing a bootleg version of \"Animal Crossing: Wild World,\" listening to the soothing sleighbells of the winter soundtrack. During those short days, \"Animal Crossing\" was my main source of joy.\u003c/p>\n\u003cp>Flash forward to now, using \"Animal Crossing\" as an escape feels like second nature. But sometimes, as James mentioned, it stirs up some realistic moments that can blur reality.\u003c/p>\n\u003cp>“One of the villagers gave me the hat I always wear, and I was like so struck by this gesture,” he said. “But it's this computer animal, you know. But this action in a game can make you feel really nice and cared for. It does have such a power to comfort you.”\u003c/p>\n\u003cfigure id=\"attachment_11808790\" class=\"wp-caption alignnone\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-11808790\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42272_90603170_3090742870936605_1544660669901570048_o-qut.jpg\" alt=\"\" width=\"1280\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42272_90603170_3090742870936605_1544660669901570048_o-qut.jpg 1280w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42272_90603170_3090742870936605_1544660669901570048_o-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42272_90603170_3090742870936605_1544660669901570048_o-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42272_90603170_3090742870936605_1544660669901570048_o-qut-1020x574.jpg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" />\u003cfigcaption class=\"wp-caption-text\">James and me, just vibing out. James's face is swollen from a virtual wasp attack. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And you can actually bring your real life friends to your island, voice chat and even send each other presents. This week, James visited my island. We had a great time watching the virtual sun set on a cliff overlooking the ocean.\u003c/p>\n\u003cp>When the sun goes down, the whole music and scenescape changes into a magical evening as chill, jazzy music plays (if you want to binge listen, \u003ca href=\"https://www.youtube.com/watch?v=0637dd6uevo\">YouTube\u003c/a> has your back.)\u003c/p>\n\u003cfigure id=\"attachment_11808791\" class=\"wp-caption alignnone\" style=\"max-width: 1280px\">\u003cimg class=\"size-full wp-image-11808791\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42273_90930460_3090744210936471_2870507608068849664_o-qut.jpg\" alt=\"\" width=\"1280\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42273_90930460_3090744210936471_2870507608068849664_o-qut.jpg 1280w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42273_90930460_3090744210936471_2870507608068849664_o-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42273_90930460_3090744210936471_2870507608068849664_o-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42273_90930460_3090744210936471_2870507608068849664_o-qut-1020x574.jpg 1020w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" />\u003cfigcaption class=\"wp-caption-text\">A tender moment between friends. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a reminder of what life can be. “I miss being able to be outside all the time,” James said. “With friends.”\u003c/p>\n\u003cp>But for now, at least we have \"Animal Crossing.\" And in these times, it’s more than enough for me.\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Coronavirus Wiped Out His Gigs, Now California Musician Must Rethink How to Survive",
"title": "Coronavirus Wiped Out His Gigs, Now California Musician Must Rethink How to Survive",
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"content": "\u003cp>Musician and composer\u003ca href=\"http://www.danielberkman.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Daniel Berkman\u003c/a> was on his way home to San Francisco after visiting his parents near Los Angeles a couple of weeks ago, when he decided to check in with a collaborator.\u003c/p>\n\u003cp>He and Katerina Wong, the co-artistic director of contemporary dance company \u003ca href=\"https://rawdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">RAWdance\u003c/a>, had been working together on \u003ca href=\"https://rawdance.org/events/tripletake/\" target=\"_blank\" rel=\"noopener noreferrer\">a major project\u003c/a> for months. It was about to have its world premiere.\u003c/p>\n\u003cp>\"I called her and said, 'Hey, I'm really excited to get back to work on this.' And she said, 'Well, actually, it's not happening. Due to COVID-19, we were forced to cancel the show,' \" Berkman told KQED via video chat earlier this week. \"That was when it kind of hit me that this is actually affecting me.\"\u003c/p>\n\u003cp>\"It was heartbreaking,\" said Wong of the phone conversation she had that day with Berkman. \"He was supportive. He completely understood how difficult the decision must have been.\"\u003c/p>\n\u003cp>More cancellations followed. Within a few days, Berkman's schedule had completely emptied out. \"All of my income has halted,\" he said. \"There's no more income from my jobs anymore.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It's long been tough for artists like Berkman to make a living in California. The ever-escalating cost of living, coupled with the challenges of doing business as an independent worker under the restrictions created by the new AB 5 employment law, are making it tougher than ever.\u003c/p>\n\u003cp>\"Sometimes I feel like one of the last-standing full-time musicians in San Francisco,\" Berkman said.\u003c/p>\n\u003cp>Berkman is a multi-instrumentalist who plays keyboards, synthesizers, piano, acoustic and electric guitars, viola de gamba, cello and percussion. He's also a pioneer of music making in virtual reality environments.\u003c/p>\n\u003cp>But his favorite instrument is the kora, a West African stringed instrument that looks and sounds like a cross between a lute and a harp.\u003c/p>\n\u003cfigure id=\"attachment_11807579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11807579\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-800x600.jpg\" alt=\"Musician Daniel Berkman sheltering in place with some of his instruments in his San Francisco apartment.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician Daniel Berkman sheltering in place with some of his instruments in his San Francisco apartment. \u003ccite>(Courtesy of Daniel Berkman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I just love how one instrument can produce so much sound and still have such a serene and healing quality,\" said Berkman, who's been playing the kora for 25 years.\u003c/p>\n\u003cp>The 49-year-old musician lives a hand-to-mouth existence accompanying rehearsals for Bay Area dance companies like \u003ca href=\"https://odc.dance/\" target=\"_blank\" rel=\"noopener noreferrer\">ODC\u003c/a> and giving kora lessons to a couple of private students. He also picks up scattered paychecks from live gigs, composing and teaching electronic music workshops at \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ\u003c/a>.\u003c/p>\n\u003cp>He said he’s been able to continue doing what he does in one of the most expensive cities in the world because he keeps a very low overhead.\u003c/p>\n\u003cp>\"This little room barely fits all of my instruments,\" Berkman said of his small, rent-controlled studio in San Francisco's Potrero Hill neighborhood. \"But it's been good to me for 20 years.\"\u003c/p>\n\u003cp>Now that COVID-19 has swept away all of his work, Berkman is wondering how he’s going to make his rent.\u003c/p>\n\u003cp>Earlier this week, he tried to reach his landlady to discuss the matter. He couldn’t get through. \"But I left a message anyway, basically telling her, what if the situation is such that I may have to miss a month?\"\u003c/p>\n\u003cp>At the time of publication, Berkman had not yet heard back. Last week, San Francisco Mayor London Breed issued a moratorium on evictions of tenants who cannot pay rent due to the current public health crisis. Gov. Gavin Newsom followed up this week with an \u003ca href=\"https://www.kqed.org/news/11807102/newsom-authorizes-california-cities-to-stop-evictions-tenant-advocates-say-more-is-needed\">executive order\u003c/a> asking cities and counties statewide to place a similar freeze on evictions.\u003c/p>\n\u003cp>Berkman said he also called his health insurance provider to ask if they’d be willing to cut him some slack. He shared a recording of his conversation with Kaiser Permanente with KQED.\u003c/p>\n\u003cp>“Currently, at the moment, there is not anything going on as far as deferments or forgiveness for the premiums,” the customer service agent on the call told Berkman.\u003c/p>\n\u003cfigure id=\"attachment_11807582\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11807582\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42190_Screen-Shot-2020-03-17-at-13.03.21-qut-800x718.jpg\" alt=\"A post from Daniel Berkman's Facebook page\" width=\"800\" height=\"718\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42190_Screen-Shot-2020-03-17-at-13.03.21-qut-800x718.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42190_Screen-Shot-2020-03-17-at-13.03.21-qut-160x144.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42190_Screen-Shot-2020-03-17-at-13.03.21-qut-1020x915.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42190_Screen-Shot-2020-03-17-at-13.03.21-qut.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A post from Daniel Berkman's Facebook page \u003ccite>(Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkman said he has around $800 in his bank account and no savings. He has no safety net.\u003c/p>\n\u003cp>\"That's what's so scary,\" he said. \"I don't have a backup plan.\"\u003c/p>\n\u003cp>For the first time, Berkman, who said he doesn’t like to feel like he’s in anyone’s debt, is having to get comfortable with asking for help.\u003c/p>\n\u003cp>\"It seems like everybody's helping one another,\" he said. \"Why can't I just accept a little bit of help?\"\u003c/p>\n\u003cp>He said he's applied to a couple of small artists relief funds. He is waiting to hear back about whether his applications have been successful, but he's not feeling optimistic.\u003c/p>\n\u003cp>\"\u003ca href=\"https://artistrelieftree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Relief Tree\u003c/a> can safely say that the first 700 people will receive funding. I am 2,140 out 3,545. The second [fund] is administered by a producer friend of mine, and he says they’re doing what they can, but to try \u003ca href=\"https://www.flipcause.com/secure/cause_pdetails/NzY4NjU=\" target=\"_blank\" rel=\"noopener noreferrer\">Safety Net Fund\u003c/a>,\" Berkman wrote in a follow-up email. \"I started filing for unemployment yesterday.\"\u003c/p>\n\u003cp>The musician said he is grateful to the few friends who have recently bought his \u003ca href=\"https://danielberkman.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">complete discography online via Bandcamp\u003c/a>. (The digital music service \u003ca href=\"https://daily.bandcamp.com/features/bandcamp-covid-19-fundraiser\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> it would waive its revenue share on all sales on Friday, March 20, as part of \"rallying the Bandcamp community to put much needed money directly into artists’ pockets.\") One friend even gifted Berkman $50.\u003c/p>\n\u003cp>\"That generosity just reminds me that we really are in this together,\" Berkman said. \"Despite the bleakness of it all, I feel like there's hope.\"\u003c/p>\n\u003cp>Though he has a \u003ca href=\"https://www.instagram.com/danielberkman/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">social media presence\u003c/a>, a \u003ca href=\"http://www.danielberkman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website \u003c/a>and \u003ca href=\"https://danielberkman.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">sells his records online\u003c/a>, Berkman has always focused more on live music making. But he said if there’s one thing the current public health crisis has shown him, it’s the importance of taking more of his business into the digital realm — into areas like online promotion, virtual lessons and livestreaming gigs.\u003c/p>\n\u003cp>Berkman said he plans to spend the next few weeks of downtime ramping up his online efforts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"This COVID-19 is a wake-up call,\" he said. \"The bottom line is, I need to change how I work as a musician.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Musician and composer\u003ca href=\"http://www.danielberkman.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Daniel Berkman\u003c/a> was on his way home to San Francisco after visiting his parents near Los Angeles a couple of weeks ago, when he decided to check in with a collaborator.\u003c/p>\n\u003cp>He and Katerina Wong, the co-artistic director of contemporary dance company \u003ca href=\"https://rawdance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">RAWdance\u003c/a>, had been working together on \u003ca href=\"https://rawdance.org/events/tripletake/\" target=\"_blank\" rel=\"noopener noreferrer\">a major project\u003c/a> for months. It was about to have its world premiere.\u003c/p>\n\u003cp>\"I called her and said, 'Hey, I'm really excited to get back to work on this.' And she said, 'Well, actually, it's not happening. Due to COVID-19, we were forced to cancel the show,' \" Berkman told KQED via video chat earlier this week. \"That was when it kind of hit me that this is actually affecting me.\"\u003c/p>\n\u003cp>\"It was heartbreaking,\" said Wong of the phone conversation she had that day with Berkman. \"He was supportive. He completely understood how difficult the decision must have been.\"\u003c/p>\n\u003cp>More cancellations followed. Within a few days, Berkman's schedule had completely emptied out. \"All of my income has halted,\" he said. \"There's no more income from my jobs anymore.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It's long been tough for artists like Berkman to make a living in California. The ever-escalating cost of living, coupled with the challenges of doing business as an independent worker under the restrictions created by the new AB 5 employment law, are making it tougher than ever.\u003c/p>\n\u003cp>\"Sometimes I feel like one of the last-standing full-time musicians in San Francisco,\" Berkman said.\u003c/p>\n\u003cp>Berkman is a multi-instrumentalist who plays keyboards, synthesizers, piano, acoustic and electric guitars, viola de gamba, cello and percussion. He's also a pioneer of music making in virtual reality environments.\u003c/p>\n\u003cp>But his favorite instrument is the kora, a West African stringed instrument that looks and sounds like a cross between a lute and a harp.\u003c/p>\n\u003cfigure id=\"attachment_11807579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11807579\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-800x600.jpg\" alt=\"Musician Daniel Berkman sheltering in place with some of his instruments in his San Francisco apartment.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42188_daniel-berkman-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician Daniel Berkman sheltering in place with some of his instruments in his San Francisco apartment. \u003ccite>(Courtesy of Daniel Berkman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I just love how one instrument can produce so much sound and still have such a serene and healing quality,\" said Berkman, who's been playing the kora for 25 years.\u003c/p>\n\u003cp>The 49-year-old musician lives a hand-to-mouth existence accompanying rehearsals for Bay Area dance companies like \u003ca href=\"https://odc.dance/\" target=\"_blank\" rel=\"noopener noreferrer\">ODC\u003c/a> and giving kora lessons to a couple of private students. He also picks up scattered paychecks from live gigs, composing and teaching electronic music workshops at \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ\u003c/a>.\u003c/p>\n\u003cp>He said he’s been able to continue doing what he does in one of the most expensive cities in the world because he keeps a very low overhead.\u003c/p>\n\u003cp>\"This little room barely fits all of my instruments,\" Berkman said of his small, rent-controlled studio in San Francisco's Potrero Hill neighborhood. \"But it's been good to me for 20 years.\"\u003c/p>\n\u003cp>Now that COVID-19 has swept away all of his work, Berkman is wondering how he’s going to make his rent.\u003c/p>\n\u003cp>Earlier this week, he tried to reach his landlady to discuss the matter. He couldn’t get through. \"But I left a message anyway, basically telling her, what if the situation is such that I may have to miss a month?\"\u003c/p>\n\u003cp>At the time of publication, Berkman had not yet heard back. Last week, San Francisco Mayor London Breed issued a moratorium on evictions of tenants who cannot pay rent due to the current public health crisis. Gov. Gavin Newsom followed up this week with an \u003ca href=\"https://www.kqed.org/news/11807102/newsom-authorizes-california-cities-to-stop-evictions-tenant-advocates-say-more-is-needed\">executive order\u003c/a> asking cities and counties statewide to place a similar freeze on evictions.\u003c/p>\n\u003cp>Berkman said he also called his health insurance provider to ask if they’d be willing to cut him some slack. He shared a recording of his conversation with Kaiser Permanente with KQED.\u003c/p>\n\u003cp>“Currently, at the moment, there is not anything going on as far as deferments or forgiveness for the premiums,” the customer service agent on the call told Berkman.\u003c/p>\n\u003cfigure id=\"attachment_11807582\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11807582\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42190_Screen-Shot-2020-03-17-at-13.03.21-qut-800x718.jpg\" alt=\"A post from Daniel Berkman's Facebook page\" width=\"800\" height=\"718\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42190_Screen-Shot-2020-03-17-at-13.03.21-qut-800x718.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42190_Screen-Shot-2020-03-17-at-13.03.21-qut-160x144.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42190_Screen-Shot-2020-03-17-at-13.03.21-qut-1020x915.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/03/RS42190_Screen-Shot-2020-03-17-at-13.03.21-qut.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A post from Daniel Berkman's Facebook page \u003ccite>(Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkman said he has around $800 in his bank account and no savings. He has no safety net.\u003c/p>\n\u003cp>\"That's what's so scary,\" he said. \"I don't have a backup plan.\"\u003c/p>\n\u003cp>For the first time, Berkman, who said he doesn’t like to feel like he’s in anyone’s debt, is having to get comfortable with asking for help.\u003c/p>\n\u003cp>\"It seems like everybody's helping one another,\" he said. \"Why can't I just accept a little bit of help?\"\u003c/p>\n\u003cp>He said he's applied to a couple of small artists relief funds. He is waiting to hear back about whether his applications have been successful, but he's not feeling optimistic.\u003c/p>\n\u003cp>\"\u003ca href=\"https://artistrelieftree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Relief Tree\u003c/a> can safely say that the first 700 people will receive funding. I am 2,140 out 3,545. The second [fund] is administered by a producer friend of mine, and he says they’re doing what they can, but to try \u003ca href=\"https://www.flipcause.com/secure/cause_pdetails/NzY4NjU=\" target=\"_blank\" rel=\"noopener noreferrer\">Safety Net Fund\u003c/a>,\" Berkman wrote in a follow-up email. \"I started filing for unemployment yesterday.\"\u003c/p>\n\u003cp>The musician said he is grateful to the few friends who have recently bought his \u003ca href=\"https://danielberkman.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">complete discography online via Bandcamp\u003c/a>. (The digital music service \u003ca href=\"https://daily.bandcamp.com/features/bandcamp-covid-19-fundraiser\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> it would waive its revenue share on all sales on Friday, March 20, as part of \"rallying the Bandcamp community to put much needed money directly into artists’ pockets.\") One friend even gifted Berkman $50.\u003c/p>\n\u003cp>\"That generosity just reminds me that we really are in this together,\" Berkman said. \"Despite the bleakness of it all, I feel like there's hope.\"\u003c/p>\n\u003cp>Though he has a \u003ca href=\"https://www.instagram.com/danielberkman/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">social media presence\u003c/a>, a \u003ca href=\"http://www.danielberkman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website \u003c/a>and \u003ca href=\"https://danielberkman.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">sells his records online\u003c/a>, Berkman has always focused more on live music making. But he said if there’s one thing the current public health crisis has shown him, it’s the importance of taking more of his business into the digital realm — into areas like online promotion, virtual lessons and livestreaming gigs.\u003c/p>\n\u003cp>Berkman said he plans to spend the next few weeks of downtime ramping up his online efforts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"This COVID-19 is a wake-up call,\" he said. \"The bottom line is, I need to change how I work as a musician.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "amnesias-last-show-an-essential-sf-venue-for-local-artists-closes-after-20-years",
"title": "Amnesia's Last Show: An 'Essential' SF Venue for Local Artists Closes After 20 Years",
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"headTitle": "Amnesia’s Last Show: An ‘Essential’ SF Venue for Local Artists Closes After 20 Years | KQED",
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"content": "\u003cp>Amnesia ended its 20-year run as a music venue with a sold-out show Saturday night. The Mission District bar — with capacity for less than 100 people — is another one of San Francisco’s small music venues to shut down in recent years.\u003c/p>\n\u003cp>https://twitter.com/bethlaberge/status/1234139246539104259\u003c/p>\n\u003cp>General Manager Adam Del Rio said that there was a combination of problems that led to the venue closing. “The last year has been a struggle. Shows haven’t been as well attended and people have been drinking less,” he said.\u003c/p>\n\u003cp>The owners plan to reopen the bar and pledge that it will live on as a neighborhood gathering space, as it has been for the past 100 years. “It’s been a wild and wonderful run, and truly bittersweet to say goodbye,” Craig Wathen, Amnesia’s owner, said in a statement.\u003c/p>\n\u003cfigure id=\"attachment_11804480\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804480\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1.jpg\" alt=\"Parker Simon plays bass for the band Tong, who opened the final show at Amnesia on Saturday night. This is the band's 10th time playing at the venue and Parker said, "We found our identity as a band at Amnesia." When asked about the closure of the venue and what it means to him he said, "It scares me. Especially seeing somewhere like this to close. As you're coming up as a new band ... these are the only kinds of places where you can start to build. You can't go straight to the Independent or anything like that. These places are so essential because they'll give anybody a chance. It's one less place supporting creativity."\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-1020x679.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The band Tong opens during Amnesia’s last show on Feb. 29, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the final show at Amnesia begins Saturday night, Parker Simon plays bass for the band Tong. This is the band’s tenth time playing at the venue, and Simon said, “We found our identity as a band at Amnesia.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When asked about the closure of the venue and what it means to him, he said, “It scares me. Especially seeing somewhere like this to close. As you’re coming up as a new band … these are the only kinds of places where you can start to build. You can’t go straight to the Independent or anything like that. These places are so essential because they’ll give anybody a chance. It’s one less place supporting creativity.”\u003c/p>\n\u003cfigure id=\"attachment_11804491\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804491\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871.jpg\" alt=\"Patrons dance to the band Novio Electrico during the last night of Amnesia on Saturday.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Patrons dance to the band Novio Electrico during the last night of Amnesia on Saturday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804477\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804477\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357.jpg\" alt=\"A slim selection of beer remained at Amnesia in San Francisco during the music venue's last night on Saturday. The sign reads, "Thank you! It has been one HELL of a run." The bar will reopen in another capacity in the future, but not as a music venue. In a statement from the current owner Craig Wathen, who also owns City Beer Store, he said "In 2015 we took over the helm at Amnesia. In those five years, we have put on over 4,000 shows, shared countless experiences, served thousands of beers, and created many joyful memories. Amnesia has been a great experience for our families, and we want to thank all the musicians, patrons and employees for that gift." He goes on to say that, "We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable."\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-1020x679.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The drink board is unusually empty during Amnesia’s last show. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a drink board once full of craft beer choices, only a few remain. The sign reads, “Thank you! It has been one HELL of a run.”\u003c/p>\n\u003cp>The bar will reopen in another capacity in the future, but not as a music venue. In a statement from Wathen, who also owns City Beer Store, he said, “In 2015 we took over the helm at Amnesia. In those five years, we have put on over 4,000 shows, shared countless experiences, served thousands of beers and created many joyful memories. Amnesia has been a great experience for our families, and we want to thank all the musicians, patrons and employees for that gift. We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable.”\u003c/p>\n\u003cfigure id=\"attachment_11804417\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804417\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839.jpg\" alt=\"Rex Shelverton plays in Novio Electrico during the last night of the small music venue Amnesia on Saturday night. The band has played at Amnesia just about every 6 weeks for the past 1 1/2 years. Rex Shelverton said, "I've been playing here since it was called the Chameleon. It feels like such a neighborhood spot. It doesn't feel like such a destination like the way The Chapel does. I love all those places too. This is just more casual, you can just show up." When asked about the future of small music venue's in San Francisco he said, "City's change. Unfortunately, it's the way it goes."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Rex Shelverton plays with Novio Electrico. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next up on stage is Novio Electrico. Rex Shelverton plays guitar for the band, which has played at Amnesia just about every month for the past one and a half years.\u003c/p>\n\u003cp>“I’ve been playing here since it was called the Chameleon. It feels like such a neighborhood spot. It doesn’t feel like such a destination like the way The Chapel does. I love all those places, too. This is just more casual, you can just show up,” Shelverton said.\u003c/p>\n\u003cp>When asked about the future of small music venues in San Francisco, he said, “Cities change. Unfortunately, it’s the way it goes.”\u003c/p>\n\u003cfigure id=\"attachment_11804485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804485 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-800x533.jpg\" alt=\"Amnesia's General Manager Adam Del Rio (left) hangs out backstage during the last show at the venue on Saturday night. He said that there was a combination of problems that lead to the closure. “The last year has been a struggle. Shows haven’t been as well attended and people have been drinking less in general.” He has many fond memories of the bar, including playing his own music and "watching the kids who cut their teeth here. They're stoked to play and have a rock n roll show."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amnesia’s General Manager Adam Del Rio (left) hangs out backstage during the last show at the venue on Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hanging out backstage, Amnesia’s General Manager, Adam Del Rio, talked about his favorite memories of the bar, including playing his own music and “watching the kids who cut their teeth here. They’re stoked to play and have a rock ‘n’ roll show.”\u003c/p>\n\u003cfigure id=\"attachment_11804486\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804486 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-800x533.jpg\" alt=\"Indiana Hale plays during the last night at Amnesia on Saturday night. The bar was known for its eclectic music nights, cozy space and dim red lighting. Mondays were bluegrass and Wednesdays were jazz and other nights could be anything and everything in between.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indianna Hale plays during the last night at Amnesia on Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804425\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804425\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864.jpg\" alt=\"Regulars, band members and staff fill Amnesia during the last night of music on Saturday.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Regulars, band members and staff fill Amnesia during the last night of music on Saturday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bar was known for its eclectic music nights, cozy space and dim red lighting. Mondays were bluegrass, Wednesdays were jazz and other nights could be anything and everything in between.\u003c/p>\n\u003cfigure id=\"attachment_11804484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11804484\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-800x533.jpg\" alt=\"Caravan 222 plays during the last night before the venue closes on March 1, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caravan 222 plays during the last night before the venue closes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804490\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804490 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-800x533.jpg\" alt='Caravan 222 plays the last set during the last night at Amnesia on Saturday. They announced during their set that due to the closing of Amnesia they would change their name to the Chinatown Mustangs. Guitarist Jacob Landry said, \"this is a huge loss for me.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd watches Caravan 222 play on Feb. 29, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To close the night, Caravan 222 plays the last set for Amnesia’s final show. In between songs, the band announces that due to the closing of Amnesia, they are changing their name to the Chinatown Mustangs. “We’ve had a lot of good times here. And we’ll have a lot of good times in the future,” the band said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Looking for another small venue in the Mission District to see local or underground music? Here are some places to stop by: \u003ca href=\"http://www.makeoutroom.com/\">The Makeout Room\u003c/a>, \u003ca href=\"https://theknockoutsf.com/\">The Knockout\u003c/a>, \u003ca href=\"http://ritespotcafe.net/\">Rite Spot\u003c/a>, \u003ca href=\"http://www.amadossf.com/\">Amado’s\u003c/a> and \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a> host a consistent rotation of music. Missing gypsy jazz? Check out \u003ca href=\"http://www.revolutioncafesf.com/\">Revolution Cafe\u003c/a>. For an acoustic set, \u003ca href=\"https://www.thelostchurch.com/san-francisco.html\">The Lost Church\u003c/a> has you covered. While \u003ca href=\"https://www.thechapelsf.com/\">The Chapel\u003c/a> and \u003ca href=\"https://www.brickandmortarmusic.com/\">Brick & Mortar\u003c/a> are larger venues, they book both local and touring bands.\u003c/p>\n\n",
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"excerpt": "The Mission District bar — with capacity for only about 100 people — is another one of the city's small music venues to shut down in recent years.",
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"title": "Amnesia's Last Show: An 'Essential' SF Venue for Local Artists Closes After 20 Years | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amnesia ended its 20-year run as a music venue with a sold-out show Saturday night. The Mission District bar — with capacity for less than 100 people — is another one of San Francisco’s small music venues to shut down in recent years.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>General Manager Adam Del Rio said that there was a combination of problems that led to the venue closing. “The last year has been a struggle. Shows haven’t been as well attended and people have been drinking less,” he said.\u003c/p>\n\u003cp>The owners plan to reopen the bar and pledge that it will live on as a neighborhood gathering space, as it has been for the past 100 years. “It’s been a wild and wonderful run, and truly bittersweet to say goodbye,” Craig Wathen, Amnesia’s owner, said in a statement.\u003c/p>\n\u003cfigure id=\"attachment_11804480\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804480\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1.jpg\" alt=\"Parker Simon plays bass for the band Tong, who opened the final show at Amnesia on Saturday night. This is the band's 10th time playing at the venue and Parker said, "We found our identity as a band at Amnesia." When asked about the closure of the venue and what it means to him he said, "It scares me. Especially seeing somewhere like this to close. As you're coming up as a new band ... these are the only kinds of places where you can start to build. You can't go straight to the Independent or anything like that. These places are so essential because they'll give anybody a chance. It's one less place supporting creativity."\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/024_KQED_SanFrancisco_Amnesia_LastNight_02292020_9389-1-1020x679.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The band Tong opens during Amnesia’s last show on Feb. 29, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the final show at Amnesia begins Saturday night, Parker Simon plays bass for the band Tong. This is the band’s tenth time playing at the venue, and Simon said, “We found our identity as a band at Amnesia.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked about the closure of the venue and what it means to him, he said, “It scares me. Especially seeing somewhere like this to close. As you’re coming up as a new band … these are the only kinds of places where you can start to build. You can’t go straight to the Independent or anything like that. These places are so essential because they’ll give anybody a chance. It’s one less place supporting creativity.”\u003c/p>\n\u003cfigure id=\"attachment_11804491\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804491\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871.jpg\" alt=\"Patrons dance to the band Novio Electrico during the last night of Amnesia on Saturday.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/012_KQED_SanFrancisco_Amnesia_LastNight_02292020_4871-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Patrons dance to the band Novio Electrico during the last night of Amnesia on Saturday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804477\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804477\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357.jpg\" alt=\"A slim selection of beer remained at Amnesia in San Francisco during the music venue's last night on Saturday. The sign reads, "Thank you! It has been one HELL of a run." The bar will reopen in another capacity in the future, but not as a music venue. In a statement from the current owner Craig Wathen, who also owns City Beer Store, he said "In 2015 we took over the helm at Amnesia. In those five years, we have put on over 4,000 shows, shared countless experiences, served thousands of beers, and created many joyful memories. Amnesia has been a great experience for our families, and we want to thank all the musicians, patrons and employees for that gift." He goes on to say that, "We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable."\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/023_KQED_SanFrancisco_Amnesia_LastNight_02292020_9357-1020x679.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The drink board is unusually empty during Amnesia’s last show. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a drink board once full of craft beer choices, only a few remain. The sign reads, “Thank you! It has been one HELL of a run.”\u003c/p>\n\u003cp>The bar will reopen in another capacity in the future, but not as a music venue. In a statement from Wathen, who also owns City Beer Store, he said, “In 2015 we took over the helm at Amnesia. In those five years, we have put on over 4,000 shows, shared countless experiences, served thousands of beers and created many joyful memories. Amnesia has been a great experience for our families, and we want to thank all the musicians, patrons and employees for that gift. We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable.”\u003c/p>\n\u003cfigure id=\"attachment_11804417\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804417\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839.jpg\" alt=\"Rex Shelverton plays in Novio Electrico during the last night of the small music venue Amnesia on Saturday night. The band has played at Amnesia just about every 6 weeks for the past 1 1/2 years. Rex Shelverton said, "I've been playing here since it was called the Chameleon. It feels like such a neighborhood spot. It doesn't feel like such a destination like the way The Chapel does. I love all those places too. This is just more casual, you can just show up." When asked about the future of small music venue's in San Francisco he said, "City's change. Unfortunately, it's the way it goes."\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/020_KQED_SanFrancisco_Amnesia_LastNight_02292020_4839-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Rex Shelverton plays with Novio Electrico. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next up on stage is Novio Electrico. Rex Shelverton plays guitar for the band, which has played at Amnesia just about every month for the past one and a half years.\u003c/p>\n\u003cp>“I’ve been playing here since it was called the Chameleon. It feels like such a neighborhood spot. It doesn’t feel like such a destination like the way The Chapel does. I love all those places, too. This is just more casual, you can just show up,” Shelverton said.\u003c/p>\n\u003cp>When asked about the future of small music venues in San Francisco, he said, “Cities change. Unfortunately, it’s the way it goes.”\u003c/p>\n\u003cfigure id=\"attachment_11804485\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804485 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-800x533.jpg\" alt=\"Amnesia's General Manager Adam Del Rio (left) hangs out backstage during the last show at the venue on Saturday night. He said that there was a combination of problems that lead to the closure. “The last year has been a struggle. Shows haven’t been as well attended and people have been drinking less in general.” He has many fond memories of the bar, including playing his own music and "watching the kids who cut their teeth here. They're stoked to play and have a rock n roll show."\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_4894.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amnesia’s General Manager Adam Del Rio (left) hangs out backstage during the last show at the venue on Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hanging out backstage, Amnesia’s General Manager, Adam Del Rio, talked about his favorite memories of the bar, including playing his own music and “watching the kids who cut their teeth here. They’re stoked to play and have a rock ‘n’ roll show.”\u003c/p>\n\u003cfigure id=\"attachment_11804486\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804486 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-800x533.jpg\" alt=\"Indiana Hale plays during the last night at Amnesia on Saturday night. The bar was known for its eclectic music nights, cozy space and dim red lighting. Mondays were bluegrass and Wednesdays were jazz and other nights could be anything and everything in between.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/013_KQED_SanFrancisco_Amnesia_LastNight_02292020_9511-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Indianna Hale plays during the last night at Amnesia on Saturday night. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804425\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11804425\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864.jpg\" alt=\"Regulars, band members and staff fill Amnesia during the last night of music on Saturday.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/022_KQED_SanFrancisco_Amnesia_LastNight_02292020_4864-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Regulars, band members and staff fill Amnesia during the last night of music on Saturday. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bar was known for its eclectic music nights, cozy space and dim red lighting. Mondays were bluegrass, Wednesdays were jazz and other nights could be anything and everything in between.\u003c/p>\n\u003cfigure id=\"attachment_11804484\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11804484\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-800x533.jpg\" alt=\"Caravan 222 plays during the last night before the venue closes on March 1, 2020.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/015_KQED_SanFrancisco_Amnesia_LastNight_02292020_9533.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caravan 222 plays during the last night before the venue closes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11804490\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11804490 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-800x533.jpg\" alt='Caravan 222 plays the last set during the last night at Amnesia on Saturday. They announced during their set that due to the closing of Amnesia they would change their name to the Chinatown Mustangs. Guitarist Jacob Landry said, \"this is a huge loss for me.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/03/014_KQED_SanFrancisco_Amnesia_LastNight_02292020_4915.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd watches Caravan 222 play on Feb. 29, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To close the night, Caravan 222 plays the last set for Amnesia’s final show. In between songs, the band announces that due to the closing of Amnesia, they are changing their name to the Chinatown Mustangs. “We’ve had a lot of good times here. And we’ll have a lot of good times in the future,” the band said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Looking for another small venue in the Mission District to see local or underground music? Here are some places to stop by: \u003ca href=\"http://www.makeoutroom.com/\">The Makeout Room\u003c/a>, \u003ca href=\"https://theknockoutsf.com/\">The Knockout\u003c/a>, \u003ca href=\"http://ritespotcafe.net/\">Rite Spot\u003c/a>, \u003ca href=\"http://www.amadossf.com/\">Amado’s\u003c/a> and \u003ca href=\"https://www.elriosf.com/\">El Rio\u003c/a> host a consistent rotation of music. Missing gypsy jazz? Check out \u003ca href=\"http://www.revolutioncafesf.com/\">Revolution Cafe\u003c/a>. For an acoustic set, \u003ca href=\"https://www.thelostchurch.com/san-francisco.html\">The Lost Church\u003c/a> has you covered. While \u003ca href=\"https://www.thechapelsf.com/\">The Chapel\u003c/a> and \u003ca href=\"https://www.brickandmortarmusic.com/\">Brick & Mortar\u003c/a> are larger venues, they book both local and touring bands.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "An Eye for the Strange and Wonderful: Remembering KQED’s Patricia Yollin",
"title": "An Eye for the Strange and Wonderful: Remembering KQED’s Patricia Yollin",
"headTitle": "KQED News",
"content": "\u003cp>[dropcap]O[/dropcap]ften when Pat Yollin had to break bad news about a piece I had written — as when she had encountered a typo or missing word or some other gibberish in my copy — she’d preface it with a tongue-in-cheek apology.\u003c/p>\n\u003cp>“Not to be galling and nettlesome,” she’d say, “but there seems to be a word left out here.”\u003c/p>\n\u003cp>Her notes stopped just before Christmas, when doctors told Pat — a KQED News online editor for the past seven years — that she was suffering from an incurable cancer that had already reached an advanced stage. The cancer, complicated by infections and a stroke, rapidly overwhelmed her, and she died last Saturday in Berkeley. She was 69.\u003c/p>\n\u003cp>[aside postID=\"news_11759599,news_11765805,news_11680221,news_11629475,news_11632348\" label=\"Stories From KQED's Patricia Yollin\"]Pat’s illness also ended a 45-year career as a reporter, editor and mentor who was unendingly curious and eager to explore the world with all its quirks, oddities and wonders.\u003c/p>\n\u003cp>Pat told her longtime partner, San Francisco Chronicle photographer Paul Chinn, that she wanted no formal memorial or tributes after she died. She probably would have insisted that she didn’t want a formal obituary, either.\u003c/p>\n\u003cp>So now, it’s my turn to apologize to her for something she might well find galling and nettlesome: a look at her life and work.\u003c/p>\n\u003cp>[dropcap]A[/dropcap]mong the many things Pat was known for — the precision and clarity in her writing and editing, her eye for detail, her empathy for the people she wrote about — was her sense of fun and love of the oddball story. So in her time editing for KQED, she’d sometimes make time to do pieces like one on \u003ca href=\"//www.kqed.org/news/11513197/its-really-big-and-really-stinks-but-people-cant-wait-to-see-s-f-s-corpse-flower%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">the blooming of a corpse flower\u003c/a> at the San Francisco Conservatory of Flowers or on the challenges a group of local entrepreneurs faced \u003ca href=\"//www.kqed.org/news/11680221/the-female-orgasm-comes-quietly-to-the-streets-of-san-francisco%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">marketing a smart vibrator\u003c/a>.\u003c/p>\n\u003cp>“There is no prouder parent than Sidney Price,” the corpse flower story began. “On Monday morning, he savored a private visit with his ‘baby’ at the San Francisco Conservatory of Flowers.\u003c/p>\n\u003cp>“ ‘I always thought she'd be an early bloomer,’ said Price, as he gazed at Terra the Titan, a 9-year-old corpse flower poised to unleash an overpowering stench that has been compared to decaying animal flesh, filthy socks, rotting garbage and human feces.”\u003c/p>\n\u003cp>But even knowing how enthusiastically she embraced the unusual, it’s surprising to dig through Pat’s earliest stories.\u003c/p>\n\u003cp>The very first piece I can find carrying her byline is from the summer of 1975 for the San Francisco Examiner’s old Sunday magazine, California Living.\u003c/p>\n\u003cp>The story tells the tale of a young woman named Magi (pronounced Maggie), recently hired as a barker for one of the North Beach strip clubs. Pat hung out for an afternoon with the new barker, whose job was to entice (or badger) male passersby to come see the show inside. Business was depressingly slow: The few people strolling down Broadway weren’t interested in Magi’s spiel. And then this happened:\u003c/p>\n\u003cblockquote>\u003cp>“A short bespectacled white-haired man is approaching at a brisk pace, puffing on a cigar. He breezes past Magi’s pitch, and has almost reached the end of the block when Magi, still persevering, shouts, “Let me show you something really disgusting.” It works. His head whirls around. “Disgusting!” he yelps hopefully in a heavy German accent, and marches back to investigate. He’s on his way once again within a few minutes, but the encounter has revived Magi’s good humor.”\u003c/p>\u003c/blockquote>\n\u003cp>I laughed out loud at the line, “Let me show you something really disgusting.” It’s so unexpected, so funny and so Pat. And it’s a little astounding to me to see her, at age 24, showing such a refined eye for the detail that would make the story.\u003c/p>\n\u003cp>Where did she pick up the affinity for the strange and the knack for conveying it to readers? Pat didn’t talk much about her formative years — spent in and around Philadelphia. After she fell ill, I told her once I’d like to ask her about her family.\u003c/p>\n\u003cp>“Why?” she demanded, as if she knew what I might be up to. I let it drop. But maybe her past holds a few clues to her fundamental enthusiasm for life and her willingness to embrace and learn from whoever and whatever she encountered.\u003c/p>\n\u003cp>[dropcap]P[/dropcap]atricia Leah Yollin was born Aug. 17, 1950, in Abington, Pennsylvania, just outside Philadelphia, the only child of Charles Yollin and Veronica Rita Dugan.\u003c/p>\n\u003cp>Pat’s father was Jewish, a native of Kiev, Ukraine, whose family emigrated to Pennsylvania during the last years of Czar Nicholas II’s reign. Charlie Yollin left high school after one year and worked as a salesman and electrician.\u003c/p>\n\u003cp>Her mother, the daughter of Irish Catholic immigrants, was born at home in the town of Bristol, just up the Delaware River from Philadelphia. If census records are to be believed, she also dropped out of high school and worked for years as a stenographer at a local Elks Club.\u003c/p>\n\u003cp>None of that sounds way out there, but of course there’s a lot more to the story.\u003c/p>\n\u003cp>Charlie Yollin was 46 and had two sons from his previous marriage — they were already in their 20s — when Pat came along. Veronica had apparently lived at home into her 30s before marrying Charles. She was 42 when Pat was born.\u003c/p>\n\u003cp>Friends say Pat spoke seldom about her upbringing, but a couple of details stick out. Pat described her mother poring over the Daily Racing Form, the horse players’ bible, as she sipped Schmidt's beer. Veronica, whom Pat described to some as “a hard-drinking, hard-smoking, hard-gambling woman,” would sometimes take her daughter along on her outings to the track.\u003c/p>\n\u003cp>Her father? My eye is drawn to one particular about him. In the early ‘50s, soon after Pat was born, Charles advertised for a business he had started — raising minks — at the family’s home in the outlying Philadelphia suburb of Ambler.\u003c/p>\n\u003cp>“Attention Mink Rancher,” the ads were headlined. “We are looking for live stock. If you have 300 minks or less and would like to sell out before pelting season, call or write. …”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charlie turned the family’s backyard into a mink farm. Pat said the animals were remarkable for their viciousness and stink.\u003c/p>\n\u003cp>Outside Pat’s household, there was serious trouble in the extended Yollin family. One of her much older half-brothers, Louis Yollin, had been placed in a Philadelphia psychiatric hospital after committing a series of crimes in the late 1940s. In one case, he had stolen a collection of replica diamonds and other gems from a museum in the city and been arrested after trying to sell them to tourists on the Atlantic City boardwalk.\u003c/p>\n\u003cp>Louis went on to a more sensational crime in 1952, when he was 28. Allowed to leave the psychiatric facility to visit his mother, he got his hands on a .25-caliber pistol and 50 rounds of ammunition and made his way back to Atlantic City. He held up a cab driver, who took him on a long drive to another town. There, Louis opened fire on random strangers, wounding three.\u003c/p>\n\u003cp>An Associated Press story carried by papers across the country the next day quoted Louis as telling arresting officers that he simply had “an urge to kill.” He was committed to a facility for the criminally insane, where he spent the next 16 years.\u003c/p>\n\u003cp>Did the case’s notoriety and the fate of Pat’s half-brother affect life in the Yollin household? I don’t know. But one other traumatic episode did.\u003c/p>\n\u003cp>One evening when she was six, Pat was eating nuts. One got stuck in her throat. She told her parents, who didn’t believe her and sent her to bed. The next morning, the pain was worse and Pat complained again. This time, her parents took her to a doctor, who told them Pat needed an emergency tracheotomy.\u003c/p>\n\u003cp>She remembered the date of that operation, Oct. 21, for the rest of her life. And after she fell ill last fall, she said she experienced the first symptoms of her cancer on Oct. 21, 2019.\u003c/p>\n\u003cp>[dropcap]P[/dropcap]at went on to be the woman and journalist she became because of her own innate intelligence and curiosity. But she also got a hand from her Aunt Katie, Veronica Dugan’s older sister.\u003c/p>\n\u003cp>Catherine Dugan, who was unmarried and had no children, paid for Pat to attend Catholic schools from the first grade on.\u003c/p>\n\u003cp>Pat said later her aunt’s generosity was not entirely selfless. Katie, a Catholic, also wanted to “counteract” the influence of Charles Yollin, who was Jewish.\u003c/p>\n\u003cp>Pat finished her schooling at Gwynedd Mercy High School, a highly regarded all-girls school in the Philadelphia suburbs. From there, Pat went on to Northwestern University, graduating with a bachelor’s in politics and government in 1972. She attended UC Berkeley’s Graduate School of Journalism and earned her master’s in 1976.\u003c/p>\n\u003cp>She worked for the Hayward Daily Review from 1978 through early 1983. With a bent for feature reporting, she also proved adept at breaking news coverage. Among the stories she reported was the 1982 retrial of Sacramento Valley serial killer Juan Corona.\u003c/p>\n\u003cp>That coverage brought her to the attention of Jim Wood, a reporter at the San Francisco Examiner also assigned to the retrial. Wood persuaded his editors to hire Pat, and she joined the Examiner in 1983.\u003c/p>\n\u003cfigure id=\"attachment_11804304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11804304\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-800x601.jpg\" alt=\"Hippos had a special place in Patricia Yollin's heart. The late KQED editor, who died Feb. 22 in Berkeley, had a collection of 200 hippopotamus figures, statuettes and stuffed animals.\" width=\"800\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-800x601.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1020x767.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hippos had a special place in Patricia Yollin's heart. The late KQED editor, who died Feb. 22 in Berkeley, had a collection of 200 hippopotamus figures, statuettes and stuffed animals. \u003ccite>(Courtesy of Paul Chinn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next 26 years — first for the Ex and later for the San Francisco Chronicle — Pat covered an extraordinary variety of stories and filled many different newsroom roles.\u003c/p>\n\u003cp>From 1983 through 1987, she covered transportation issues for the Examiner and took over writing the paper’s “Phantom Commuter” column.\u003c/p>\n\u003cp>In Pat's hands, the Phantom was a feature that combined her sense of fun with her interest in providing a useful reader service. She would ride transit in the Bay Area and well beyond and report the good, the bad and the ugly she encountered.\u003c/p>\n\u003cp>Every bus and train ride she wrote about was memorable. Here’s her impression of one Muni line, the 27-Bryant, that readers had told her was beset by interminable delays.\u003c/p>\n\u003cblockquote>\u003cp>“The caped commuter finished her round trip an hour and 35 minutes later, struck by two things: The 27-Bryant makes more turns than bumper cars manned by hyperactive children, and the rather nondescript route provides one of the most spectacular views in the city when it reaches 30th and Castro Street at the end of the line.”\u003c/p>\u003c/blockquote>\n\u003cp>Later, she wrote a two-part report on how the region’s transit services were serving people with disabilities. The story featured a Berkeley woman who struggled to ride transit in her wheelchair. The twist: In doing the piece, Pat rode in a wheelchair, too. Her description of boarding one bus:\u003c/p>\n\u003cblockquote>\u003cp>\"The Phantom enjoyed a flawless lift ride, but then struggled to negotiate a tight right turn past the driver. She had never given much thought to the considerable difficulties of backing down the narrow front of a crowded bus while attempting to slalom between old people’s feet.\"\u003c/p>\u003c/blockquote>\n\u003cp>Her coverage made enough of an impression that Pat was invited in July 1984 to participate in a KQED-TV show, “Damn This Traffic Jam,” that focused on the Bay Area’s seemingly intractable transportation problems. (Sound familiar?). Here’s the segment, in which Pat appeared in full Phantom disguise: a cape, a floppy hat and a mask that left only her eyes uncovered.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tagSlECrhKs\u003c/p>\n\u003cp>Later in her career, Pat was part of an Examiner team that produced a wide-ranging, 16-day series on the lives of gay and lesbian people in the United States. For the Chronicle, she produced a series on the many issues facing organ transplant recipients.\u003c/p>\n\u003cp>Among topics she returned to repeatedly: zoos. She loved the animals, was concerned about their welfare and was fascinated by how people interact with them.\u003c/p>\n\u003cp>In \u003ca href=\"//www.sfchronicle.com/bayarea/article/Penguin-frenzy-over-Birds-back-where-they-2665415.php%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">a 2003 piece\u003c/a> detailing boisterous mating behavior among Magellanic penguins at the San Francisco Zoo, she quoted the birds’ keeper, Jane Tollini: “For me, it's heaven. It's a pleasant time right now. A whole month of foreplay — what's more pleasant than that?\"\u003c/p>\n\u003cp>After a Siberian tiger fatally mauled a visitor to the zoo and injured two others on Christmas Day 2007, Pat and colleagues at the Chronicle \u003ca href=\"//www.sfgate.com/news/article/S-F-Zoo-visitor-saw-2-victims-of-tiger-attack-3233323.php%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">broke the story\u003c/a> revealing the victims had taunted the animal before it escaped its enclosure and attacked.\u003c/p>\n\u003cp>[dropcap]O[/dropcap]ne last chapter.\u003c/p>\n\u003cp>Pat took a buyout from the Chronicle in 2009. She had little trouble finding freelance work, and did stories for UC Berkeley’s California Magazine and UCSF. She began work as a part-time editor for KQED in 2013, an arrangement that quickly became permanent. Her major contribution to the organization, to her coworkers and to our readers was to improve everything she laid her hands on.\u003c/p>\n\u003cp>Among her colleagues, Pat was known as a very clear-headed and constructive editor who treated reporters with respect and criticized their work with a level of tact that was well-beyond the abilities of most of us in the news business. Put another way, she could point out your shortcomings — even mistakes that were galling and nettlesome — in a way that made the point but didn’t make people feel stupid.\u003c/p>\n\u003cp>Beyond all that, Pat was generous with her coaching and encouragement. She was instrumental in setting up and continuing San Francisco State's Raul Ramirez Diversity in Journalism Fund, a scholarship created in honor of KQED's late executive director of news and public affairs. Advocating for the fund was a reflection of her commitment to opening our profession to voices that have been shut out in the past. Pat also took a personal interest in the success of the students who have come to work at KQED as part of the scholarship.\u003c/p>\n\u003cp>Tyche Hendricks, a colleague at KQED who was among the hundreds of people who responded to \u003ca href=\"https://www.facebook.com/pfc1960/posts/10218472000665805\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> announcing Pat’s passing this past week, summed her up this way: “Her intelligence, curiosity, beautiful prose, journalistic instincts and ethics, her amazing ability to tell a story, her humor and pithy insights, her sense of justice, her quiet leadership … are irreplaceable and will be terribly missed.”\u003c/p>\n\u003cp>Besides her husband and partner Paul Chinn, Patricia Yollin is survived by two nieces — Jennifer Yollin of San Francisco and Julie Yollin Berk of London — and a nephew, Guy Yollin of Seattle.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "A reporter, editor and mentor for news organizations including the San Francisco Examiner, Chronicle and KQED, Pat Yollin spent 45 years in journalism. She died last week in Berkeley at age 69.",
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"description": "A reporter, editor and mentor for news organizations including the San Francisco Examiner, Chronicle and KQED, Pat Yollin spent 45 years in journalism. She died last week in Berkeley at age 69.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ften when Pat Yollin had to break bad news about a piece I had written — as when she had encountered a typo or missing word or some other gibberish in my copy — she’d preface it with a tongue-in-cheek apology.\u003c/p>\n\u003cp>“Not to be galling and nettlesome,” she’d say, “but there seems to be a word left out here.”\u003c/p>\n\u003cp>Her notes stopped just before Christmas, when doctors told Pat — a KQED News online editor for the past seven years — that she was suffering from an incurable cancer that had already reached an advanced stage. The cancer, complicated by infections and a stroke, rapidly overwhelmed her, and she died last Saturday in Berkeley. She was 69.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pat’s illness also ended a 45-year career as a reporter, editor and mentor who was unendingly curious and eager to explore the world with all its quirks, oddities and wonders.\u003c/p>\n\u003cp>Pat told her longtime partner, San Francisco Chronicle photographer Paul Chinn, that she wanted no formal memorial or tributes after she died. She probably would have insisted that she didn’t want a formal obituary, either.\u003c/p>\n\u003cp>So now, it’s my turn to apologize to her for something she might well find galling and nettlesome: a look at her life and work.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>mong the many things Pat was known for — the precision and clarity in her writing and editing, her eye for detail, her empathy for the people she wrote about — was her sense of fun and love of the oddball story. So in her time editing for KQED, she’d sometimes make time to do pieces like one on \u003ca href=\"//www.kqed.org/news/11513197/its-really-big-and-really-stinks-but-people-cant-wait-to-see-s-f-s-corpse-flower%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">the blooming of a corpse flower\u003c/a> at the San Francisco Conservatory of Flowers or on the challenges a group of local entrepreneurs faced \u003ca href=\"//www.kqed.org/news/11680221/the-female-orgasm-comes-quietly-to-the-streets-of-san-francisco%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">marketing a smart vibrator\u003c/a>.\u003c/p>\n\u003cp>“There is no prouder parent than Sidney Price,” the corpse flower story began. “On Monday morning, he savored a private visit with his ‘baby’ at the San Francisco Conservatory of Flowers.\u003c/p>\n\u003cp>“ ‘I always thought she'd be an early bloomer,’ said Price, as he gazed at Terra the Titan, a 9-year-old corpse flower poised to unleash an overpowering stench that has been compared to decaying animal flesh, filthy socks, rotting garbage and human feces.”\u003c/p>\n\u003cp>But even knowing how enthusiastically she embraced the unusual, it’s surprising to dig through Pat’s earliest stories.\u003c/p>\n\u003cp>The very first piece I can find carrying her byline is from the summer of 1975 for the San Francisco Examiner’s old Sunday magazine, California Living.\u003c/p>\n\u003cp>The story tells the tale of a young woman named Magi (pronounced Maggie), recently hired as a barker for one of the North Beach strip clubs. Pat hung out for an afternoon with the new barker, whose job was to entice (or badger) male passersby to come see the show inside. Business was depressingly slow: The few people strolling down Broadway weren’t interested in Magi’s spiel. And then this happened:\u003c/p>\n\u003cblockquote>\u003cp>“A short bespectacled white-haired man is approaching at a brisk pace, puffing on a cigar. He breezes past Magi’s pitch, and has almost reached the end of the block when Magi, still persevering, shouts, “Let me show you something really disgusting.” It works. His head whirls around. “Disgusting!” he yelps hopefully in a heavy German accent, and marches back to investigate. He’s on his way once again within a few minutes, but the encounter has revived Magi’s good humor.”\u003c/p>\u003c/blockquote>\n\u003cp>I laughed out loud at the line, “Let me show you something really disgusting.” It’s so unexpected, so funny and so Pat. And it’s a little astounding to me to see her, at age 24, showing such a refined eye for the detail that would make the story.\u003c/p>\n\u003cp>Where did she pick up the affinity for the strange and the knack for conveying it to readers? Pat didn’t talk much about her formative years — spent in and around Philadelphia. After she fell ill, I told her once I’d like to ask her about her family.\u003c/p>\n\u003cp>“Why?” she demanded, as if she knew what I might be up to. I let it drop. But maybe her past holds a few clues to her fundamental enthusiasm for life and her willingness to embrace and learn from whoever and whatever she encountered.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">P\u003c/span>\u003c/p>\u003cp>atricia Leah Yollin was born Aug. 17, 1950, in Abington, Pennsylvania, just outside Philadelphia, the only child of Charles Yollin and Veronica Rita Dugan.\u003c/p>\n\u003cp>Pat’s father was Jewish, a native of Kiev, Ukraine, whose family emigrated to Pennsylvania during the last years of Czar Nicholas II’s reign. Charlie Yollin left high school after one year and worked as a salesman and electrician.\u003c/p>\n\u003cp>Her mother, the daughter of Irish Catholic immigrants, was born at home in the town of Bristol, just up the Delaware River from Philadelphia. If census records are to be believed, she also dropped out of high school and worked for years as a stenographer at a local Elks Club.\u003c/p>\n\u003cp>None of that sounds way out there, but of course there’s a lot more to the story.\u003c/p>\n\u003cp>Charlie Yollin was 46 and had two sons from his previous marriage — they were already in their 20s — when Pat came along. Veronica had apparently lived at home into her 30s before marrying Charles. She was 42 when Pat was born.\u003c/p>\n\u003cp>Friends say Pat spoke seldom about her upbringing, but a couple of details stick out. Pat described her mother poring over the Daily Racing Form, the horse players’ bible, as she sipped Schmidt's beer. Veronica, whom Pat described to some as “a hard-drinking, hard-smoking, hard-gambling woman,” would sometimes take her daughter along on her outings to the track.\u003c/p>\n\u003cp>Her father? My eye is drawn to one particular about him. In the early ‘50s, soon after Pat was born, Charles advertised for a business he had started — raising minks — at the family’s home in the outlying Philadelphia suburb of Ambler.\u003c/p>\n\u003cp>“Attention Mink Rancher,” the ads were headlined. “We are looking for live stock. If you have 300 minks or less and would like to sell out before pelting season, call or write. …”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charlie turned the family’s backyard into a mink farm. Pat said the animals were remarkable for their viciousness and stink.\u003c/p>\n\u003cp>Outside Pat’s household, there was serious trouble in the extended Yollin family. One of her much older half-brothers, Louis Yollin, had been placed in a Philadelphia psychiatric hospital after committing a series of crimes in the late 1940s. In one case, he had stolen a collection of replica diamonds and other gems from a museum in the city and been arrested after trying to sell them to tourists on the Atlantic City boardwalk.\u003c/p>\n\u003cp>Louis went on to a more sensational crime in 1952, when he was 28. Allowed to leave the psychiatric facility to visit his mother, he got his hands on a .25-caliber pistol and 50 rounds of ammunition and made his way back to Atlantic City. He held up a cab driver, who took him on a long drive to another town. There, Louis opened fire on random strangers, wounding three.\u003c/p>\n\u003cp>An Associated Press story carried by papers across the country the next day quoted Louis as telling arresting officers that he simply had “an urge to kill.” He was committed to a facility for the criminally insane, where he spent the next 16 years.\u003c/p>\n\u003cp>Did the case’s notoriety and the fate of Pat’s half-brother affect life in the Yollin household? I don’t know. But one other traumatic episode did.\u003c/p>\n\u003cp>One evening when she was six, Pat was eating nuts. One got stuck in her throat. She told her parents, who didn’t believe her and sent her to bed. The next morning, the pain was worse and Pat complained again. This time, her parents took her to a doctor, who told them Pat needed an emergency tracheotomy.\u003c/p>\n\u003cp>She remembered the date of that operation, Oct. 21, for the rest of her life. And after she fell ill last fall, she said she experienced the first symptoms of her cancer on Oct. 21, 2019.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">P\u003c/span>\u003c/p>\u003cp>at went on to be the woman and journalist she became because of her own innate intelligence and curiosity. But she also got a hand from her Aunt Katie, Veronica Dugan’s older sister.\u003c/p>\n\u003cp>Catherine Dugan, who was unmarried and had no children, paid for Pat to attend Catholic schools from the first grade on.\u003c/p>\n\u003cp>Pat said later her aunt’s generosity was not entirely selfless. Katie, a Catholic, also wanted to “counteract” the influence of Charles Yollin, who was Jewish.\u003c/p>\n\u003cp>Pat finished her schooling at Gwynedd Mercy High School, a highly regarded all-girls school in the Philadelphia suburbs. From there, Pat went on to Northwestern University, graduating with a bachelor’s in politics and government in 1972. She attended UC Berkeley’s Graduate School of Journalism and earned her master’s in 1976.\u003c/p>\n\u003cp>She worked for the Hayward Daily Review from 1978 through early 1983. With a bent for feature reporting, she also proved adept at breaking news coverage. Among the stories she reported was the 1982 retrial of Sacramento Valley serial killer Juan Corona.\u003c/p>\n\u003cp>That coverage brought her to the attention of Jim Wood, a reporter at the San Francisco Examiner also assigned to the retrial. Wood persuaded his editors to hire Pat, and she joined the Examiner in 1983.\u003c/p>\n\u003cfigure id=\"attachment_11804304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11804304\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-800x601.jpg\" alt=\"Hippos had a special place in Patricia Yollin's heart. The late KQED editor, who died Feb. 22 in Berkeley, had a collection of 200 hippopotamus figures, statuettes and stuffed animals.\" width=\"800\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-800x601.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1020x767.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/patyollin2-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hippos had a special place in Patricia Yollin's heart. The late KQED editor, who died Feb. 22 in Berkeley, had a collection of 200 hippopotamus figures, statuettes and stuffed animals. \u003ccite>(Courtesy of Paul Chinn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next 26 years — first for the Ex and later for the San Francisco Chronicle — Pat covered an extraordinary variety of stories and filled many different newsroom roles.\u003c/p>\n\u003cp>From 1983 through 1987, she covered transportation issues for the Examiner and took over writing the paper’s “Phantom Commuter” column.\u003c/p>\n\u003cp>In Pat's hands, the Phantom was a feature that combined her sense of fun with her interest in providing a useful reader service. She would ride transit in the Bay Area and well beyond and report the good, the bad and the ugly she encountered.\u003c/p>\n\u003cp>Every bus and train ride she wrote about was memorable. Here’s her impression of one Muni line, the 27-Bryant, that readers had told her was beset by interminable delays.\u003c/p>\n\u003cblockquote>\u003cp>“The caped commuter finished her round trip an hour and 35 minutes later, struck by two things: The 27-Bryant makes more turns than bumper cars manned by hyperactive children, and the rather nondescript route provides one of the most spectacular views in the city when it reaches 30th and Castro Street at the end of the line.”\u003c/p>\u003c/blockquote>\n\u003cp>Later, she wrote a two-part report on how the region’s transit services were serving people with disabilities. The story featured a Berkeley woman who struggled to ride transit in her wheelchair. The twist: In doing the piece, Pat rode in a wheelchair, too. Her description of boarding one bus:\u003c/p>\n\u003cblockquote>\u003cp>\"The Phantom enjoyed a flawless lift ride, but then struggled to negotiate a tight right turn past the driver. She had never given much thought to the considerable difficulties of backing down the narrow front of a crowded bus while attempting to slalom between old people’s feet.\"\u003c/p>\u003c/blockquote>\n\u003cp>Her coverage made enough of an impression that Pat was invited in July 1984 to participate in a KQED-TV show, “Damn This Traffic Jam,” that focused on the Bay Area’s seemingly intractable transportation problems. (Sound familiar?). Here’s the segment, in which Pat appeared in full Phantom disguise: a cape, a floppy hat and a mask that left only her eyes uncovered.\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/tagSlECrhKs'\n title='//www.youtube.com/embed/tagSlECrhKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Later in her career, Pat was part of an Examiner team that produced a wide-ranging, 16-day series on the lives of gay and lesbian people in the United States. For the Chronicle, she produced a series on the many issues facing organ transplant recipients.\u003c/p>\n\u003cp>Among topics she returned to repeatedly: zoos. She loved the animals, was concerned about their welfare and was fascinated by how people interact with them.\u003c/p>\n\u003cp>In \u003ca href=\"//www.sfchronicle.com/bayarea/article/Penguin-frenzy-over-Birds-back-where-they-2665415.php%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">a 2003 piece\u003c/a> detailing boisterous mating behavior among Magellanic penguins at the San Francisco Zoo, she quoted the birds’ keeper, Jane Tollini: “For me, it's heaven. It's a pleasant time right now. A whole month of foreplay — what's more pleasant than that?\"\u003c/p>\n\u003cp>After a Siberian tiger fatally mauled a visitor to the zoo and injured two others on Christmas Day 2007, Pat and colleagues at the Chronicle \u003ca href=\"//www.sfgate.com/news/article/S-F-Zoo-visitor-saw-2-victims-of-tiger-attack-3233323.php%E2%80%9D\" target=\"”_blank”\" rel=\"noopener noreferrer\">broke the story\u003c/a> revealing the victims had taunted the animal before it escaped its enclosure and attacked.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>ne last chapter.\u003c/p>\n\u003cp>Pat took a buyout from the Chronicle in 2009. She had little trouble finding freelance work, and did stories for UC Berkeley’s California Magazine and UCSF. She began work as a part-time editor for KQED in 2013, an arrangement that quickly became permanent. Her major contribution to the organization, to her coworkers and to our readers was to improve everything she laid her hands on.\u003c/p>\n\u003cp>Among her colleagues, Pat was known as a very clear-headed and constructive editor who treated reporters with respect and criticized their work with a level of tact that was well-beyond the abilities of most of us in the news business. Put another way, she could point out your shortcomings — even mistakes that were galling and nettlesome — in a way that made the point but didn’t make people feel stupid.\u003c/p>\n\u003cp>Beyond all that, Pat was generous with her coaching and encouragement. She was instrumental in setting up and continuing San Francisco State's Raul Ramirez Diversity in Journalism Fund, a scholarship created in honor of KQED's late executive director of news and public affairs. Advocating for the fund was a reflection of her commitment to opening our profession to voices that have been shut out in the past. Pat also took a personal interest in the success of the students who have come to work at KQED as part of the scholarship.\u003c/p>\n\u003cp>Tyche Hendricks, a colleague at KQED who was among the hundreds of people who responded to \u003ca href=\"https://www.facebook.com/pfc1960/posts/10218472000665805\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> announcing Pat’s passing this past week, summed her up this way: “Her intelligence, curiosity, beautiful prose, journalistic instincts and ethics, her amazing ability to tell a story, her humor and pithy insights, her sense of justice, her quiet leadership … are irreplaceable and will be terribly missed.”\u003c/p>\n\u003cp>Besides her husband and partner Paul Chinn, Patricia Yollin is survived by two nieces — Jennifer Yollin of San Francisco and Julie Yollin Berk of London — and a nephew, Guy Yollin of Seattle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "After Nearly 100 Years, Catalina Island's Avalon Theatre to Stop Showing Nightly Films",
"title": "After Nearly 100 Years, Catalina Island's Avalon Theatre to Stop Showing Nightly Films",
"headTitle": "The California Report Magazine | KQED News",
"content": "\u003cp>If you’ve ever been to Catalina Island, the first thing you spot in the harbor when you come in on the ferry is the Catalina Casino. You can’t miss it. It’s a giant, round, white stone building with a red cone-shaped roof, standing as tall as a 12-story building.\u003c/p>\n\u003cp>Inside this massive building is the Avalon Theatre. There’s been films shown at the Avalon Theatre since the “talkies” of the 1920s — but not anymore.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Diana Alvarez, a resident of Catalina Island\"]'That one lifeline is being taken away. We feel so much more isolated now.'[/pullquote]\u003c/p>\n\u003cp>On a chilly December evening, I went on a ride over to the Avalon Theatre island-style, in the back seat of a golf cart. It was two nights before the theater stopped showing movies for good.\u003c/p>\n\u003cp>“It's very sad,” said Clara Alvarez. We’ve been friends since elementary school, but were visiting for the holidays. We were on our way to see \"Jumanji: The Next Level.\" “It's the only reason why we're going to see 'Jumanji: The Next Level,' ” she admitted.\u003c/p>\n\u003cp>Her sister Diana also came. “It honestly seems like a big fuck you to the community,” she said. “That one lifeline is being taken away. We feel so much more isolated now.”\u003c/p>\n\u003cfigure id=\"attachment_11803730\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-11803730\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut.jpg\" alt=\"Avalon High School's graduation in the theater is a popular community event. It's the only high school on the island.\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-470x470.jpg 470w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Avalon High School's graduation in the theater is a popular community event. It's the only high school on the island. \u003ccite>(Zac Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most people visit Catalina Island as tourists — but over 4,000 people live there year round.\u003c/p>\n\u003cp>For islanders, the theater is a lifeline. On a regular night, going to the movies was one of the only things to do. Catalina is surrounded by water, isolated from Los Angeles by an hour-long boat ride. Seeing a movie meant getting a taste of culture outside our island, being transported to a different place.\u003c/p>\n\u003cp>I even graduated high school inside the Avalon Theatre.\u003c/p>\n\u003cfigure id=\"attachment_11803731\" class=\"wp-caption alignnone\" style=\"max-width: 960px\">\u003cimg class=\"size-full wp-image-11803731\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut.jpg\" alt=\"\" width=\"960\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-536x402.jpg 536w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Ariella Markowitz and her dad, David Markowitz, at Ariella's high school graduation in the theater. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named after the town of Avalon, the theater felt like\u003cem> our theater. \u003c/em>\u003c/p>\n\u003cp>Soon, we arrived at the Casino. We pulled over and bought our tickets. The film started, and Danny DeVito appeared. I was at peace. It was a normal night, and also a sacred experience.\u003c/p>\n\u003cp>“Sacred really, that's really the word,\" said Melinda Benson, who also grew up on Catalina. She lives in San Francisco now. “It's just breathtaking, you know.”\u003c/p>\n\u003cp>This past November, Melinda saw a controversial post on the \u003ca href=\"https://www.facebook.com/groups/1138631529487626/\">Catalina Discussion Page\u003c/a>, a Facebook group for local drama. In frank language, it announced, \"We will discontinue showing movies at the Avalon Theatre.\"\u003c/p>\n\u003cfigure id=\"attachment_11803737\" class=\"wp-caption alignnone\" style=\"max-width: 494px\">\u003cimg class=\"size-full wp-image-11803737\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut.jpg\" alt=\"\" width=\"494\" height=\"420\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut.jpg 494w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut-160x136.jpg 160w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">The original Facebook post from the Island Company. The note warranted many angry reactions from community members. \u003ccite>(Facebook Catalina Discussion Page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had to read it again,” Melinda said. “I was just in shock and disbelief.”\u003c/p>\n\u003cp>Soon after, she made a \u003ca href=\"https://www.change.org/p/catalina-island-company-don-t-close-our-beautiful-historic-avalon-theatre-on-catalina-island\">petition on Change.org\u003c/a> that went viral. It has almost 20,000 signatures, which is more than four times the population of Catalina.\u003c/p>\n\u003cp>She sent the petition to the theater’s owner and operator, the Island Company. The CEO, Randy Herrel, sent her an email, saying, “It’s out of our hands.”\u003c/p>\n\u003cp>Ticket sales for movies have been declining since the 1950s. And industry giants, like Disney, take over half of ticket revenue.\u003c/p>\n\u003cp>The theater seats over 1,000 people, but only 36 people show up on an average night — it’s a financial sinkhole.\u003c/p>\n\u003cp>But this economic logic feels cold to Melinda. “The kids of Avalon, they're the ones that are going to be hurt the most by this,\" she said.\u003c/p>\n\u003cfigure id=\"attachment_11803734\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11803734\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Catalina Casino events bulletin, which usually shows the next movie, is empty. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>William Wrigley Jr., of chewing gum fame, bought the Catalina Island Company in 1919. He had a vision: to turn the livestock farmlands into a glamorous tourist destination. He built the theater and upstairs ballroom in 1929 for $2 million.\u003c/p>\n\u003cp>The theater premiered with \"The Iron Mask,\" a part-talkie. Celebrities in the 1930s and '40s flocked to Catalina for film premieres and to escape Los Angeles. Some still do.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"\"]In a community designed for cruise ship day-trippers, the theater was for us, the islanders.[/pullquote]\u003c/p>\n\u003cp>Nicolas Cage called the Avalon Theatre his “favorite theater,” in a \u003ca href=\"https://www.youtube.com/watch?v=pcM5tAdHoxc\">2015 interview\u003c/a> for the Catalina Film Festival. “I’ve had some of the best days of my life on Catalina Island,” he said.\u003c/p>\n\u003cp>When I went home for the holidays, I got to talk to the guy who spends so much time in the theater that Nicolas Cage would be jealous.\u003c/p>\n\u003cp>Jon Tusak is the resident organist at the Avalon Theatre, but he didn’t start off on the organ. He was an accordion player in jazz bands for years. He even went to accordion school with \"Weird Al\" Yankovic, and has since transitioned to a larger keyboard.\u003c/p>\n\u003cp>With a signature black ponytail, even the back of his head is an iconic fixture at the Avalon Theatre. He’s been playing a movie overture a few nights a week for the past 21 years.\u003c/p>\n\u003cp>“I came over here on a day trip in 1998. I just kind of latched onto the place,” Tusak said.\u003c/p>\n\u003cfigure id=\"attachment_11803736\" class=\"wp-caption alignnone\" style=\"max-width: 4032px\">\u003cimg class=\"size-full wp-image-11803736\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217.jpg\" alt=\"\" width=\"4032\" height=\"3024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217.jpg 4032w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-536x402.jpg 536w\" sizes=\"(max-width: 4032px) 100vw, 4032px\">\u003cfigcaption class=\"wp-caption-text\">Jon Tusak with the famous 1930s Page Organ. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater’s organ was built in the '30s by the Page Organ Company. It’s one of two still in operation.\u003c/p>\n\u003cp>Jon’s sticking around once the theater closes, to restore the organ. He hopes to keep the music of Hollywood’s golden age alive.\u003c/p>\n\u003cp>“Hopefully I will be here for a long time. Maybe I'll be the phantom of the theater,” he chuckled.\u003c/p>\n\u003cp>Without nightly movies, locals can pay around $20 to tour the theater. High school graduation will still happen annually, as well as the Catalina and Silent Film Festivals. In the end, islanders can still access the space — but not in the same way.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Rebecca Watson, a tour guide at the Casino\"]'There’s probably a light at the end of the tunnel some way, somehow.'[/pullquote]\u003c/p>\n\u003cp>On New Year's Eve, folks in fancy attire lined up to attend the New Years’ Eve Ball in the upstairs ballroom. I stood outside the box office, talking to folks on their way to the last movie screening. Some weren’t taking it well.\u003c/p>\n\u003cp>But Julie Perlin Lee attended the last showing with her kids. “It doesn’t feel too sad for us, we watch all our movies at home anyways,” she said. Streaming services like Netflix are partly to blame for a drop in nationwide movie attendance.\u003c/p>\n\u003cp>Other folks are hoping to see the theater reopen one day. Rebecca Watson, who gives tours inside the Catalina Casino, is one of them.\u003c/p>\n\u003cp>“There’s probably a light at the end of the tunnel some way, somehow,\" she said.\u003c/p>\n\u003cp>The last song organist Jon Tusak plays is always “Avalon.” It’s an old jazz standard about our town. But knowing it’s the last time, it sounded different.\u003c/p>\n\u003cp>It was like leaving the house you grew up in after your parents move out, knowing you’ll never be able to come back and have it feel the same.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Declining ticket sales have turned the theater into a financial sinkhole in the age of streaming services. But in a community designed for cruise ship day trippers, the theater has always been for the islanders — not the tourists.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever been to Catalina Island, the first thing you spot in the harbor when you come in on the ferry is the Catalina Casino. You can’t miss it. It’s a giant, round, white stone building with a red cone-shaped roof, standing as tall as a 12-story building.\u003c/p>\n\u003cp>Inside this massive building is the Avalon Theatre. There’s been films shown at the Avalon Theatre since the “talkies” of the 1920s — but not anymore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "'That one lifeline is being taken away. We feel so much more isolated now.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a chilly December evening, I went on a ride over to the Avalon Theatre island-style, in the back seat of a golf cart. It was two nights before the theater stopped showing movies for good.\u003c/p>\n\u003cp>“It's very sad,” said Clara Alvarez. We’ve been friends since elementary school, but were visiting for the holidays. We were on our way to see \"Jumanji: The Next Level.\" “It's the only reason why we're going to see 'Jumanji: The Next Level,' ” she admitted.\u003c/p>\n\u003cp>Her sister Diana also came. “It honestly seems like a big fuck you to the community,” she said. “That one lifeline is being taken away. We feel so much more isolated now.”\u003c/p>\n\u003cfigure id=\"attachment_11803730\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-11803730\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut.jpg\" alt=\"Avalon High School's graduation in the theater is a popular community event. It's the only high school on the island.\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41596_11401561_10153491270152975_2126508324516498020_n-qut-470x470.jpg 470w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Avalon High School's graduation in the theater is a popular community event. It's the only high school on the island. \u003ccite>(Zac Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most people visit Catalina Island as tourists — but over 4,000 people live there year round.\u003c/p>\n\u003cp>For islanders, the theater is a lifeline. On a regular night, going to the movies was one of the only things to do. Catalina is surrounded by water, isolated from Los Angeles by an hour-long boat ride. Seeing a movie meant getting a taste of culture outside our island, being transported to a different place.\u003c/p>\n\u003cp>I even graduated high school inside the Avalon Theatre.\u003c/p>\n\u003cfigure id=\"attachment_11803731\" class=\"wp-caption alignnone\" style=\"max-width: 960px\">\u003cimg class=\"size-full wp-image-11803731\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut.jpg\" alt=\"\" width=\"960\" height=\"720\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41595_10369722_10205323412902963_9017892495515064760_n-qut-536x402.jpg 536w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Ariella Markowitz and her dad, David Markowitz, at Ariella's high school graduation in the theater. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named after the town of Avalon, the theater felt like\u003cem> our theater. \u003c/em>\u003c/p>\n\u003cp>Soon, we arrived at the Casino. We pulled over and bought our tickets. The film started, and Danny DeVito appeared. I was at peace. It was a normal night, and also a sacred experience.\u003c/p>\n\u003cp>“Sacred really, that's really the word,\" said Melinda Benson, who also grew up on Catalina. She lives in San Francisco now. “It's just breathtaking, you know.”\u003c/p>\n\u003cp>This past November, Melinda saw a controversial post on the \u003ca href=\"https://www.facebook.com/groups/1138631529487626/\">Catalina Discussion Page\u003c/a>, a Facebook group for local drama. In frank language, it announced, \"We will discontinue showing movies at the Avalon Theatre.\"\u003c/p>\n\u003cfigure id=\"attachment_11803737\" class=\"wp-caption alignnone\" style=\"max-width: 494px\">\u003cimg class=\"size-full wp-image-11803737\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut.jpg\" alt=\"\" width=\"494\" height=\"420\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut.jpg 494w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41598_fb-crop-qut-160x136.jpg 160w\" sizes=\"(max-width: 494px) 100vw, 494px\">\u003cfigcaption class=\"wp-caption-text\">The original Facebook post from the Island Company. The note warranted many angry reactions from community members. \u003ccite>(Facebook Catalina Discussion Page)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had to read it again,” Melinda said. “I was just in shock and disbelief.”\u003c/p>\n\u003cp>Soon after, she made a \u003ca href=\"https://www.change.org/p/catalina-island-company-don-t-close-our-beautiful-historic-avalon-theatre-on-catalina-island\">petition on Change.org\u003c/a> that went viral. It has almost 20,000 signatures, which is more than four times the population of Catalina.\u003c/p>\n\u003cp>She sent the petition to the theater’s owner and operator, the Island Company. The CEO, Randy Herrel, sent her an email, saying, “It’s out of our hands.”\u003c/p>\n\u003cp>Ticket sales for movies have been declining since the 1950s. And industry giants, like Disney, take over half of ticket revenue.\u003c/p>\n\u003cp>The theater seats over 1,000 people, but only 36 people show up on an average night — it’s a financial sinkhole.\u003c/p>\n\u003cp>But this economic logic feels cold to Melinda. “The kids of Avalon, they're the ones that are going to be hurt the most by this,\" she said.\u003c/p>\n\u003cfigure id=\"attachment_11803734\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11803734\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41599_IMG_2290-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Catalina Casino events bulletin, which usually shows the next movie, is empty. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>William Wrigley Jr., of chewing gum fame, bought the Catalina Island Company in 1919. He had a vision: to turn the livestock farmlands into a glamorous tourist destination. He built the theater and upstairs ballroom in 1929 for $2 million.\u003c/p>\n\u003cp>The theater premiered with \"The Iron Mask,\" a part-talkie. Celebrities in the 1930s and '40s flocked to Catalina for film premieres and to escape Los Angeles. Some still do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicolas Cage called the Avalon Theatre his “favorite theater,” in a \u003ca href=\"https://www.youtube.com/watch?v=pcM5tAdHoxc\">2015 interview\u003c/a> for the Catalina Film Festival. “I’ve had some of the best days of my life on Catalina Island,” he said.\u003c/p>\n\u003cp>When I went home for the holidays, I got to talk to the guy who spends so much time in the theater that Nicolas Cage would be jealous.\u003c/p>\n\u003cp>Jon Tusak is the resident organist at the Avalon Theatre, but he didn’t start off on the organ. He was an accordion player in jazz bands for years. He even went to accordion school with \"Weird Al\" Yankovic, and has since transitioned to a larger keyboard.\u003c/p>\n\u003cp>With a signature black ponytail, even the back of his head is an iconic fixture at the Avalon Theatre. He’s been playing a movie overture a few nights a week for the past 21 years.\u003c/p>\n\u003cp>“I came over here on a day trip in 1998. I just kind of latched onto the place,” Tusak said.\u003c/p>\n\u003cfigure id=\"attachment_11803736\" class=\"wp-caption alignnone\" style=\"max-width: 4032px\">\u003cimg class=\"size-full wp-image-11803736\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217.jpg\" alt=\"\" width=\"4032\" height=\"3024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217.jpg 4032w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41601_IMG_2217-536x402.jpg 536w\" sizes=\"(max-width: 4032px) 100vw, 4032px\">\u003cfigcaption class=\"wp-caption-text\">Jon Tusak with the famous 1930s Page Organ. \u003ccite>(Ariella Markowitz/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater’s organ was built in the '30s by the Page Organ Company. It’s one of two still in operation.\u003c/p>\n\u003cp>Jon’s sticking around once the theater closes, to restore the organ. He hopes to keep the music of Hollywood’s golden age alive.\u003c/p>\n\u003cp>“Hopefully I will be here for a long time. Maybe I'll be the phantom of the theater,” he chuckled.\u003c/p>\n\u003cp>Without nightly movies, locals can pay around $20 to tour the theater. High school graduation will still happen annually, as well as the Catalina and Silent Film Festivals. In the end, islanders can still access the space — but not in the same way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On New Year's Eve, folks in fancy attire lined up to attend the New Years’ Eve Ball in the upstairs ballroom. I stood outside the box office, talking to folks on their way to the last movie screening. Some weren’t taking it well.\u003c/p>\n\u003cp>But Julie Perlin Lee attended the last showing with her kids. “It doesn’t feel too sad for us, we watch all our movies at home anyways,” she said. Streaming services like Netflix are partly to blame for a drop in nationwide movie attendance.\u003c/p>\n\u003cp>Other folks are hoping to see the theater reopen one day. Rebecca Watson, who gives tours inside the Catalina Casino, is one of them.\u003c/p>\n\u003cp>“There’s probably a light at the end of the tunnel some way, somehow,\" she said.\u003c/p>\n\u003cp>The last song organist Jon Tusak plays is always “Avalon.” It’s an old jazz standard about our town. But knowing it’s the last time, it sounded different.\u003c/p>\n\u003cp>It was like leaving the house you grew up in after your parents move out, knowing you’ll never be able to come back and have it feel the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "‘Swingposium’ Celebrates Music in Japanese American Incarceration Camps … With Taiko",
"title": "‘Swingposium’ Celebrates Music in Japanese American Incarceration Camps … With Taiko",
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"content": "\u003cp>When you think about internment of Japanese Americans during World War II, you probably don’t think about big bands and dancing. But music — especially swing music — played a big role in incarceration camps.\u003c/p>\n\u003cp>“Music was infused early on in the internment incarceration experience as a way to bring some normalcy,” said Franco Imperial, artistic director of San Jose Taiko, a performance group with a California take on classical Japanese percussion. “Music was a source of hope. It allowed them to escape.”\u003c/p>\n\u003cfigure id=\"attachment_11802776\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802776\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members join in on San Jose Taiko's dance for an interactive performance. \u003ccite>(Photo Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"\u003ca href=\"https://taiko.org/swingposium\">Swingposium,\u003c/a>\" San Jose Taiko's interactive show touring the state, celebrates the big band scene that emerged while Japanese American people were in incarceration camps.\u003c/p>\n\u003cp>“The whole show starts with the door swinging open. You've just been transported through time,\" Imperial said. The classic Benny Goodman song, “In the Mood,\" plays courtesy of a live jazz ensemble, and the audience starts dancing.\u003c/p>\n\u003cp>“As an audience member, you are not just watching, but you are participating,\" he said. \"Imagine yourself walking onto a movie set from the 1940s, in an internment camp dance hall. And so you're surrounded by actors, dancers, Taiko musicians.”\u003c/p>\n\u003cfigure id=\"attachment_11802779\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg class=\"wp-image-11802779\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-800x1200.jpg\" alt=\"\" width=\"600\" height=\"900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Actors Nicole Ogata and Matt Mori cozy up for a slow dance. \u003ccite>(Photo Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Swingposium\" employs actors from \u003ca href=\"https://www.epicimmersive.com/\">Epic Immersive\u003c/a> to tell a personal story of internment. Imperial teases the plot: It’s about “love that blossomed between a young man named George and a young woman named Amy.” George is named after real life incarceree and bandleader, George Igawa.\u003c/p>\n\u003cp>Even more than a love story, \"Swingposium\" explores the complex effects of incarceration on a Japanese American's identity.\u003c/p>\n\u003cp>“[George is] also navigating being a teenager of 18, wondering if he should go to war,\" Imperial said. \"Why should you fight for a country that incarcerates your family and yourself without due process? And [on] another side, wanting to prove yourself as an American?”\u003c/p>\n\u003ch3>\u003cstrong>San Jose's Take on Taiko: California Style\u003c/strong>\u003c/h3>\n\u003cp>Taiko signifies a broad range of Japanese percussion instruments, but San Jose Taiko’s version of Taiko is different from Japan’s classical forms.\u003c/p>\n\u003cp>Founded in 1973, San Jose Taiko decided that its sound was meant to be representative of the \"Asian soul of America.\"\u003c/p>\n\u003cp>\"When we first performed in Japan in the early '90s, the Taiko establishment in Japan saw us from California. We were smiling, being joyful and effusive. And they labeled us 'California Sunshine Taiko,' \" Imperial said.\u003c/p>\n\u003cp>Combining swing music with a modern, ensemble-style of Taiko felt like a natural progression, Imperial said.\u003c/p>\n\u003cp>You might wonder, how did they choreograph the performances so they could \u003ca href=\"https://www.youtube.com/watch?v=m1un9X2_sOY\">play a huge taiko drum\u003c/a> and swing dance at the same time?\u003c/p>\n\u003cp>Imperial’s answer: trial and error.\u003c/p>\n\u003cfigure id=\"attachment_11802786\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11802786\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut.jpg\" alt=\"\" width=\"1920\" height=\"1146\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-800x478.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-1020x609.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The George Igawa Orchestra perform in Hope Mountain, Wyoming. \u003ccite>(HMWF Collection 2001.007, Gift of Joy Teraoka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>'Americanization' Versus American Affirmation\u003c/strong>\u003c/h3>\n\u003cp>Swing bands were sponsored by the War Relocation Authority as a propaganda tool meant to “Americanize\" incarcerees. Bands like the \u003ca href=\"https://everything2.com/title/George+Igawa+Band\">George Igawa Band\u003c/a> in Heart Mountain, Wyoming, were funded by the Recreation Department, and some band members even received a monthly salary.\u003c/p>\n\u003cfigure id=\"attachment_11802787\" class=\"wp-caption alignnone\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11802787\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut.jpg\" alt=\"\" width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Internment survivor Naomi Meyers is interviewed by Franco Imperial, Artistic Director San Jose Taiko, before 'Swingposium.' \u003ccite>(Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you were at Heart Mountain, Wyoming, the only swing band if you wanted to listen to swing music live was the George Igawa Band,” Imperial said. “They played a gig and then bused back into the incarceration camps afterwards. They were used for anything from high school dances to community dances. What was unbelievable was that they would be used for war bond rallies.”\u003c/p>\n\u003cp>Imperial noted that there were no recorded instances of Taiko at Heart Mountain, but dancing to swing music was a way incarcerated people affirmed their American identities. And today, \"Swingposium\" uses Taiko as a symbol for the spirit and resilience of Japanese people.\u003c/p>\n\u003cp>“This was them proving that we're just as American as anybody else in the country. They were saying they loved Duke Ellington and Cole Porter and listened to the same music,\" he said. \"This music was an expression of them saying we're no different than anyone outside of the barbed wire.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think about internment of Japanese Americans during World War II, you probably don’t think about big bands and dancing. But music — especially swing music — played a big role in incarceration camps.\u003c/p>\n\u003cp>“Music was infused early on in the internment incarceration experience as a way to bring some normalcy,” said Franco Imperial, artistic director of San Jose Taiko, a performance group with a California take on classical Japanese percussion. “Music was a source of hope. It allowed them to escape.”\u003c/p>\n\u003cfigure id=\"attachment_11802776\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802776\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members join in on San Jose Taiko's dance for an interactive performance. \u003ccite>(Photo Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"\u003ca href=\"https://taiko.org/swingposium\">Swingposium,\u003c/a>\" San Jose Taiko's interactive show touring the state, celebrates the big band scene that emerged while Japanese American people were in incarceration camps.\u003c/p>\n\u003cp>“The whole show starts with the door swinging open. You've just been transported through time,\" Imperial said. The classic Benny Goodman song, “In the Mood,\" plays courtesy of a live jazz ensemble, and the audience starts dancing.\u003c/p>\n\u003cp>“As an audience member, you are not just watching, but you are participating,\" he said. \"Imagine yourself walking onto a movie set from the 1940s, in an internment camp dance hall. And so you're surrounded by actors, dancers, Taiko musicians.”\u003c/p>\n\u003cfigure id=\"attachment_11802779\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg class=\"wp-image-11802779\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-800x1200.jpg\" alt=\"\" width=\"600\" height=\"900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Actors Nicole Ogata and Matt Mori cozy up for a slow dance. \u003ccite>(Photo Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Swingposium\" employs actors from \u003ca href=\"https://www.epicimmersive.com/\">Epic Immersive\u003c/a> to tell a personal story of internment. Imperial teases the plot: It’s about “love that blossomed between a young man named George and a young woman named Amy.” George is named after real life incarceree and bandleader, George Igawa.\u003c/p>\n\u003cp>Even more than a love story, \"Swingposium\" explores the complex effects of incarceration on a Japanese American's identity.\u003c/p>\n\u003cp>“[George is] also navigating being a teenager of 18, wondering if he should go to war,\" Imperial said. \"Why should you fight for a country that incarcerates your family and yourself without due process? And [on] another side, wanting to prove yourself as an American?”\u003c/p>\n\u003ch3>\u003cstrong>San Jose's Take on Taiko: California Style\u003c/strong>\u003c/h3>\n\u003cp>Taiko signifies a broad range of Japanese percussion instruments, but San Jose Taiko’s version of Taiko is different from Japan’s classical forms.\u003c/p>\n\u003cp>Founded in 1973, San Jose Taiko decided that its sound was meant to be representative of the \"Asian soul of America.\"\u003c/p>\n\u003cp>\"When we first performed in Japan in the early '90s, the Taiko establishment in Japan saw us from California. We were smiling, being joyful and effusive. And they labeled us 'California Sunshine Taiko,' \" Imperial said.\u003c/p>\n\u003cp>Combining swing music with a modern, ensemble-style of Taiko felt like a natural progression, Imperial said.\u003c/p>\n\u003cp>You might wonder, how did they choreograph the performances so they could \u003ca href=\"https://www.youtube.com/watch?v=m1un9X2_sOY\">play a huge taiko drum\u003c/a> and swing dance at the same time?\u003c/p>\n\u003cp>Imperial’s answer: trial and error.\u003c/p>\n\u003cfigure id=\"attachment_11802786\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11802786\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut.jpg\" alt=\"\" width=\"1920\" height=\"1146\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-800x478.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-1020x609.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The George Igawa Orchestra perform in Hope Mountain, Wyoming. \u003ccite>(HMWF Collection 2001.007, Gift of Joy Teraoka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>'Americanization' Versus American Affirmation\u003c/strong>\u003c/h3>\n\u003cp>Swing bands were sponsored by the War Relocation Authority as a propaganda tool meant to “Americanize\" incarcerees. Bands like the \u003ca href=\"https://everything2.com/title/George+Igawa+Band\">George Igawa Band\u003c/a> in Heart Mountain, Wyoming, were funded by the Recreation Department, and some band members even received a monthly salary.\u003c/p>\n\u003cfigure id=\"attachment_11802787\" class=\"wp-caption alignnone\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11802787\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut.jpg\" alt=\"\" width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Internment survivor Naomi Meyers is interviewed by Franco Imperial, Artistic Director San Jose Taiko, before 'Swingposium.' \u003ccite>(Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you were at Heart Mountain, Wyoming, the only swing band if you wanted to listen to swing music live was the George Igawa Band,” Imperial said. “They played a gig and then bused back into the incarceration camps afterwards. They were used for anything from high school dances to community dances. What was unbelievable was that they would be used for war bond rallies.”\u003c/p>\n\u003cp>Imperial noted that there were no recorded instances of Taiko at Heart Mountain, but dancing to swing music was a way incarcerated people affirmed their American identities. And today, \"Swingposium\" uses Taiko as a symbol for the spirit and resilience of Japanese people.\u003c/p>\n\u003cp>“This was them proving that we're just as American as anybody else in the country. They were saying they loved Duke Ellington and Cole Porter and listened to the same music,\" he said. \"This music was an expression of them saying we're no different than anyone outside of the barbed wire.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Will 'Intimacy Coordinators' Change the Future of Sex Scenes in Hollywood?",
"title": "Will 'Intimacy Coordinators' Change the Future of Sex Scenes in Hollywood?",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">As jury deliberations continue in the trial of big budget movie producer Harvey Weinstein, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has signaled it wants to institutionalize more sensitive approaches to simulating intimacy on set.\u003c/span>\u003c/p>\n\u003cp>Last month, the guild released \u003ca href=\"https://www.sagaftra.org/contracts-industry-resources/workplace-harassment/intimacy-coordinator-standards-protocols\" target=\"_blank\" rel=\"noopener noreferrer\">new standards and protocols\u003c/a> for the work of intimacy coordinators, a growing industry of professionals who help choreograph scenes that depict sexual behavior\u003cspan style=\"font-weight: 400\"> in movies and TV\u003c/span>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>\"The best practice around when to use us is whenever there are scenes involving any level of nudity — and then, of course, any type of simulated sex,\" said Amanda Blumenthal, an intimacy coordinator who helped the guild put together the new standards.\u003c/p>\n\u003cp>Blumenthal's website lists a number of specific scenarios during which intimacy coordinators can be useful, like \"coordinating with departments such as costumes and makeup to make sure that the actors are provided with appropriate nudity garments and prosthetics.\"\u003c/p>\n\u003cp>Intimacy coordinators, or ICs, can play a role in all kinds of intimate scenes, including “groping of breasts over clothing, heavy make out sessions, first kisses for minors and things like that,\" said Blumenthal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"A lot of people don't realize that there are many younger actors who have their first kiss on screen, and that can be a really sensitive and tender situation that should be handled with care,” she said.\u003c/p>\n\u003cp>Scenes with simulated sexual violence are also part of intimacy coordinators' work.\u003c/p>\n\u003cfigure id=\"attachment_11802512\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802512\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg\" alt=\"Michelle Hurd at the \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hurd at the \"Star Trek: Picard\" premiere in London, England, on Jan. 15, 2020. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Productions across studios, networks and genres are using IC services, including the new television series, Star Trek: Picard. This is thanks, in part, to one of its stars, veteran actress Michelle Hurd. Hurd is a member of \u003ca href=\"https://timesupfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Time’s Up\u003c/a> and also worked with SAG-AFTRA on the new protocols.\u003c/p>\n\u003cp>\"We’re talking about people. We're talking about physical contact,\" Hurd told KQED. \"These scenes need to be handled with kid gloves and choreographed.\"\u003c/p>\n\u003cp>The new standards strive to lay a foundation, Hurd added, “to enable and empower the actors to feel confident and strong and comfortable.\"\u003c/p>\n\u003ch3>Shifting the Culture on Set\u003c/h3>\n\u003cp>Intimacy coordinators have been working on sets for a while now, but SAG-AFTRA decided to formalize their role with new protocols to give ICs a more official platform and to help raise awareness within the industry.\u003c/p>\n\u003cp>“It’s hard for the whole concept to find space in the entertainment industry and to find a path to flourish and to grow without there being a standard understanding of what we’re talking about and what it means,” said David White, national executive director of SAG-AFTRA.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_IntimacyCoord_part.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">new guidelines\u003c/a> include:\u003c/p>\n\u003cul>\n\u003cli>Standards for training for intimacy coordinators, including gender and sexual diversity sensitivity training and an understanding of guild and union contracts that impact simulated sex.\u003c/li>\n\u003cli>Guidelines for resolving discrepancies in expectations between actors and productions around scenes involving intimacy.\u003c/li>\n\u003cli>Guidelines for on-set assistance, including enforcing continued consent throughout filming.\u003c/li>\n\u003c/ul>\n\u003cp>White is careful to point out that the guild is not making intimacy coordinators mandatory. He said there will be time in the future to integrate coordinators into collective bargaining agreements, but that's not the point of the guild's recent move.\u003c/p>\n\u003cp>Both White and SAG-AFTRA president Gabrielle Carteris acknowledged the potential for pushback from filmmakers for both creative and financial reasons.\u003c/p>\n\u003cp>Carteris, who is also an actor, recounted a conversation she'd had with a female director who was initially resistant to including an intimacy coordinator on a recent project — the director worried that an extra facilitator might interfere with her vision and rapport with the actors.\u003c/p>\n\u003cp>But that's not what happened, said Carteris.\u003c/p>\n\u003cp>“That director said to me, ‘I was able to share my vision, work [with the] actor, but also pay attention to everybody else in the set, knowing that the actor had somebody who [was] there one-on-one with them regarding any concerns they might have',” said Carteris.\u003c/p>\n\u003cp>Another potential obstacle to incorporating intimacy coordinators on set regularly is that they add another line item to project budgets.\u003c/p>\n\u003cp>“It’s very unusual for the [filmmaking] community to embrace the idea of a new cost to a production,” said White.\u003c/p>\n\u003cp>But Hurd said that if there is nudity or intimacy in a script, producers should build accommodations into their budgets to allow for “more care-taking to our artists... as they are put into vulnerable positions that will be... there on screen and film or digital for the rest of their lives.”\u003c/p>\n\u003cp>Hurd's own experience may inform her commitment to instill more sensitivity on sets. In 2014, she \u003ca href=\"https://www.cbsnews.com/news/actress-michelle-hurd-bill-cosby-was-very-inappropriate-with-me/\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out about\u003c/a> Bill Cosby treating her inappropriately during the filming of the television show, The Cosby Mysteries, when she was working as a stand-in.\u003c/p>\n\u003cp>Hurd said she sees intimacy coordinators as just the next evolution of conscientiousness on set.\u003c/p>\n\u003cp>\"There didn’t used to be stunt coordinators or regulations around child actors or the way animals were used in filming,\" she said, “[Intimacy coordinators] should go into the same kind of category.”\u003c/p>\n\u003cp>And there are other parallels, like actors \"requesting \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/05/590867132/whats-an-inclusion-rider-here-s-the-story-behind-frances-mcdormand-s-closing-wor\" target=\"_blank\" rel=\"noopener noreferrer\">inclusion riders\u003c/a> so that there's a person of color or LGBTQ or disabled [person] in every room,” Hurd added.\u003c/p>\n\u003cp>For now, actors who request coordinators are not guaranteed one. Blumenthal, who also founded Intimacy Professional Association, one of the bodies that accredits ICs, said there are about 25 accredited coordinators currently working in the United States.\u003c/p>\n\u003cp>White said the guild is not directly connecting ICs with filmmakers, just raising awareness about their work. Intimacy coordinators are also not currently union members, though some are advocating for SAG-AFTRA membership.\u003c/p>\n\u003cp>Still, White said, the new protocols have the power to gradually shift the culture on set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The time will come where this position becomes a standard role of any production involving intimate scenes,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">As jury deliberations continue in the trial of big budget movie producer Harvey Weinstein, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has signaled it wants to institutionalize more sensitive approaches to simulating intimacy on set.\u003c/span>\u003c/p>\n\u003cp>Last month, the guild released \u003ca href=\"https://www.sagaftra.org/contracts-industry-resources/workplace-harassment/intimacy-coordinator-standards-protocols\" target=\"_blank\" rel=\"noopener noreferrer\">new standards and protocols\u003c/a> for the work of intimacy coordinators, a growing industry of professionals who help choreograph scenes that depict sexual behavior\u003cspan style=\"font-weight: 400\"> in movies and TV\u003c/span>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>\"The best practice around when to use us is whenever there are scenes involving any level of nudity — and then, of course, any type of simulated sex,\" said Amanda Blumenthal, an intimacy coordinator who helped the guild put together the new standards.\u003c/p>\n\u003cp>Blumenthal's website lists a number of specific scenarios during which intimacy coordinators can be useful, like \"coordinating with departments such as costumes and makeup to make sure that the actors are provided with appropriate nudity garments and prosthetics.\"\u003c/p>\n\u003cp>Intimacy coordinators, or ICs, can play a role in all kinds of intimate scenes, including “groping of breasts over clothing, heavy make out sessions, first kisses for minors and things like that,\" said Blumenthal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"A lot of people don't realize that there are many younger actors who have their first kiss on screen, and that can be a really sensitive and tender situation that should be handled with care,” she said.\u003c/p>\n\u003cp>Scenes with simulated sexual violence are also part of intimacy coordinators' work.\u003c/p>\n\u003cfigure id=\"attachment_11802512\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802512\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg\" alt=\"Michelle Hurd at the \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hurd at the \"Star Trek: Picard\" premiere in London, England, on Jan. 15, 2020. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Productions across studios, networks and genres are using IC services, including the new television series, Star Trek: Picard. This is thanks, in part, to one of its stars, veteran actress Michelle Hurd. Hurd is a member of \u003ca href=\"https://timesupfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Time’s Up\u003c/a> and also worked with SAG-AFTRA on the new protocols.\u003c/p>\n\u003cp>\"We’re talking about people. We're talking about physical contact,\" Hurd told KQED. \"These scenes need to be handled with kid gloves and choreographed.\"\u003c/p>\n\u003cp>The new standards strive to lay a foundation, Hurd added, “to enable and empower the actors to feel confident and strong and comfortable.\"\u003c/p>\n\u003ch3>Shifting the Culture on Set\u003c/h3>\n\u003cp>Intimacy coordinators have been working on sets for a while now, but SAG-AFTRA decided to formalize their role with new protocols to give ICs a more official platform and to help raise awareness within the industry.\u003c/p>\n\u003cp>“It’s hard for the whole concept to find space in the entertainment industry and to find a path to flourish and to grow without there being a standard understanding of what we’re talking about and what it means,” said David White, national executive director of SAG-AFTRA.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_IntimacyCoord_part.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">new guidelines\u003c/a> include:\u003c/p>\n\u003cul>\n\u003cli>Standards for training for intimacy coordinators, including gender and sexual diversity sensitivity training and an understanding of guild and union contracts that impact simulated sex.\u003c/li>\n\u003cli>Guidelines for resolving discrepancies in expectations between actors and productions around scenes involving intimacy.\u003c/li>\n\u003cli>Guidelines for on-set assistance, including enforcing continued consent throughout filming.\u003c/li>\n\u003c/ul>\n\u003cp>White is careful to point out that the guild is not making intimacy coordinators mandatory. He said there will be time in the future to integrate coordinators into collective bargaining agreements, but that's not the point of the guild's recent move.\u003c/p>\n\u003cp>Both White and SAG-AFTRA president Gabrielle Carteris acknowledged the potential for pushback from filmmakers for both creative and financial reasons.\u003c/p>\n\u003cp>Carteris, who is also an actor, recounted a conversation she'd had with a female director who was initially resistant to including an intimacy coordinator on a recent project — the director worried that an extra facilitator might interfere with her vision and rapport with the actors.\u003c/p>\n\u003cp>But that's not what happened, said Carteris.\u003c/p>\n\u003cp>“That director said to me, ‘I was able to share my vision, work [with the] actor, but also pay attention to everybody else in the set, knowing that the actor had somebody who [was] there one-on-one with them regarding any concerns they might have',” said Carteris.\u003c/p>\n\u003cp>Another potential obstacle to incorporating intimacy coordinators on set regularly is that they add another line item to project budgets.\u003c/p>\n\u003cp>“It’s very unusual for the [filmmaking] community to embrace the idea of a new cost to a production,” said White.\u003c/p>\n\u003cp>But Hurd said that if there is nudity or intimacy in a script, producers should build accommodations into their budgets to allow for “more care-taking to our artists... as they are put into vulnerable positions that will be... there on screen and film or digital for the rest of their lives.”\u003c/p>\n\u003cp>Hurd's own experience may inform her commitment to instill more sensitivity on sets. In 2014, she \u003ca href=\"https://www.cbsnews.com/news/actress-michelle-hurd-bill-cosby-was-very-inappropriate-with-me/\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out about\u003c/a> Bill Cosby treating her inappropriately during the filming of the television show, The Cosby Mysteries, when she was working as a stand-in.\u003c/p>\n\u003cp>Hurd said she sees intimacy coordinators as just the next evolution of conscientiousness on set.\u003c/p>\n\u003cp>\"There didn’t used to be stunt coordinators or regulations around child actors or the way animals were used in filming,\" she said, “[Intimacy coordinators] should go into the same kind of category.”\u003c/p>\n\u003cp>And there are other parallels, like actors \"requesting \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/05/590867132/whats-an-inclusion-rider-here-s-the-story-behind-frances-mcdormand-s-closing-wor\" target=\"_blank\" rel=\"noopener noreferrer\">inclusion riders\u003c/a> so that there's a person of color or LGBTQ or disabled [person] in every room,” Hurd added.\u003c/p>\n\u003cp>For now, actors who request coordinators are not guaranteed one. Blumenthal, who also founded Intimacy Professional Association, one of the bodies that accredits ICs, said there are about 25 accredited coordinators currently working in the United States.\u003c/p>\n\u003cp>White said the guild is not directly connecting ICs with filmmakers, just raising awareness about their work. Intimacy coordinators are also not currently union members, though some are advocating for SAG-AFTRA membership.\u003c/p>\n\u003cp>Still, White said, the new protocols have the power to gradually shift the culture on set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The time will come where this position becomes a standard role of any production involving intimate scenes,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mountain bikes in a museum? Yes, and not just in Fairfax, home of the \u003ca href=\"https://mmbhof.org\" target=\"_blank\" rel=\"noopener noreferrer\">Marin Museum of Bicycling\u003c/a>. The \u003ca href=\"https://santacruzmah.org\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art and History (MAH)\u003c/a> has collaborated with its neighbor to the north to recount the history and burnish the legend.\u003c/p>\n\u003cp>\"Any bike can be a mountain bike if you ride it in the mountains,\" said Whitney Ford-Terry, the exhibition's catalyst for \"\u003ca href=\"https://santacruzmah.org/exhibitions/trailblazers\" target=\"_blank\" rel=\"noopener noreferrer\">Trailblazers: The Creative Story Behind Mountain Biking in Santa Cruz\u003c/a>.\" The exhibit explores how Santa Cruz became a major mountain biking destination and home to several big biking brands.\u003c/p>\n\u003cp>\"People kind of cross-pollinated ideas, and a lot of folks from Santa Cruz learned from people who had picked up things there or who had come down to Santa Cruz to really test out what they were making on the very unique trail system we have here,\" Ford-Terry said.\u003c/p>\n\u003cp>Off-road riding has been with us as long as bicycles have, but in the late 1960s, a clutch of guys in Marin County modified old Schwinn bicycles they called “clunkers” to race down \u003ca href=\"https://www.parks.ca.gov/?page_id=471\" target=\"_blank\" rel=\"noopener noreferrer\">Mount Tamalpais\u003c/a>. It didn’t take long before they started modifying the bikes with stiffer frames, wider tires, multiple gears and so on.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8CWMCNzmKNM]In \u003ca href=\"https://www.kqed.org/arts/13810966/former-foster-youth-change-narrative\" target=\"_blank\" rel=\"noopener noreferrer\">classic MAH fashion\u003c/a>, the exhibition is not so much a collection of historical objects as it is a collaboration with a host of local people and groups like \u003ca href=\"http://mbosc.org\" target=\"_blank\" rel=\"noopener noreferrer\">Mountain Bikers of Santa Cruz\u003c/a>. So, for example, \"Trailblazers\" encourages visitors to think about getting involved in the community, in this case, by focusing on the importance of trail stewardship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition also encourages visitors to think in a hands-on fashion about what makes for a good mountain bike. It's a sport, after all, born of tinkering to maximize delight traveling through the great California outdoors. \u003c/p>\n\u003cp>\"What really makes this community special is our trails: how we use them, how we take care of them, how we built them,\" Ford-Terry said.\u003c/p>\n\u003cp>From the Flow Trail in Soquel Demonstration State Forest to the coastline of Wilder Ranch State Park to the campus byways of UC Santa Cruz, \"It is a wildly popular sport in our county and community,\" Ford-Terry said. \"So we looked to the experts to help us get a better idea of what should be in the show, but also, how to contextualize this history.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On a sunny day, it's hard to imagine why you wouldn't be out on one of those trails, but at some point, you're going to be downtown for an ice cream or a sandwich, and that's when this gallery at MAH beckons you inside to reflect and appreciate the \"trailblazers\" who came before you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mountain bikes in a museum? Yes, and not just in Fairfax, home of the \u003ca href=\"https://mmbhof.org\" target=\"_blank\" rel=\"noopener noreferrer\">Marin Museum of Bicycling\u003c/a>. The \u003ca href=\"https://santacruzmah.org\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art and History (MAH)\u003c/a> has collaborated with its neighbor to the north to recount the history and burnish the legend.\u003c/p>\n\u003cp>\"Any bike can be a mountain bike if you ride it in the mountains,\" said Whitney Ford-Terry, the exhibition's catalyst for \"\u003ca href=\"https://santacruzmah.org/exhibitions/trailblazers\" target=\"_blank\" rel=\"noopener noreferrer\">Trailblazers: The Creative Story Behind Mountain Biking in Santa Cruz\u003c/a>.\" The exhibit explores how Santa Cruz became a major mountain biking destination and home to several big biking brands.\u003c/p>\n\u003cp>\"People kind of cross-pollinated ideas, and a lot of folks from Santa Cruz learned from people who had picked up things there or who had come down to Santa Cruz to really test out what they were making on the very unique trail system we have here,\" Ford-Terry said.\u003c/p>\n\u003cp>Off-road riding has been with us as long as bicycles have, but in the late 1960s, a clutch of guys in Marin County modified old Schwinn bicycles they called “clunkers” to race down \u003ca href=\"https://www.parks.ca.gov/?page_id=471\" target=\"_blank\" rel=\"noopener noreferrer\">Mount Tamalpais\u003c/a>. It didn’t take long before they started modifying the bikes with stiffer frames, wider tires, multiple gears and so on.\u003c/p>\n\u003cp>\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/8CWMCNzmKNM'\n title='//www.youtube.com/embed/8CWMCNzmKNM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13810966/former-foster-youth-change-narrative\" target=\"_blank\" rel=\"noopener noreferrer\">classic MAH fashion\u003c/a>, the exhibition is not so much a collection of historical objects as it is a collaboration with a host of local people and groups like \u003ca href=\"http://mbosc.org\" target=\"_blank\" rel=\"noopener noreferrer\">Mountain Bikers of Santa Cruz\u003c/a>. So, for example, \"Trailblazers\" encourages visitors to think about getting involved in the community, in this case, by focusing on the importance of trail stewardship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition also encourages visitors to think in a hands-on fashion about what makes for a good mountain bike. It's a sport, after all, born of tinkering to maximize delight traveling through the great California outdoors. \u003c/p>\n\u003cp>\"What really makes this community special is our trails: how we use them, how we take care of them, how we built them,\" Ford-Terry said.\u003c/p>\n\u003cp>From the Flow Trail in Soquel Demonstration State Forest to the coastline of Wilder Ranch State Park to the campus byways of UC Santa Cruz, \"It is a wildly popular sport in our county and community,\" Ford-Terry said. \"So we looked to the experts to help us get a better idea of what should be in the show, but also, how to contextualize this history.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On a sunny day, it's hard to imagine why you wouldn't be out on one of those trails, but at some point, you're going to be downtown for an ice cream or a sandwich, and that's when this gallery at MAH beckons you inside to reflect and appreciate the \"trailblazers\" who came before you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Democratic Presidential Race \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">This week, Vermont Sen. Bernie Sanders was declared the winner in the New Hampshire primary, narrowly edging out former South Bend Mayor Pete Buttigieg. Sen. Amy Klobuchar of Minnesota finished third, riding a resurgent wave of support after a strong debate performance in New Hampshire last week. Former Vice President Joe Biden’s support has slipped and progressive Massachusetts Sen. Elizabeth Warren’s campaign is also in trouble after a poor showing in New Hampshire and Iowa. Candidates are now turning their attention to South Carolina and Nevada, states with large numbers of black and Latino voters, unlike Iowa and New Hampshire. Meanwhile, billionaire and former New York Mayor Michael Bloomberg decided to skip the early nominating states and instead pour hundreds of millions of dollars on ad buys in California and other states that are key to winning the nomination. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Paul Mitchell, vice-president, Political Data, Inc.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Megan Messerly, lead 2020 election reporter, The Nevada Independent\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>‘Uncanny Valley’ \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">In recent years, tech giants like Facebook and Google have reckoned with massive data breaches and anger over misinformation and disturbing content on their sites. On top of that, there’s the culture of Silicon Valley, a male-dominated, largely white workplace that often prizes the pursuit of profits over principles of equity and diversity. Now, a new book offers an insider’s account of life at a startup and the seductive promises of this “uncanny valley.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guest:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Anna Wiener, author, “Uncanny Valley,” and The New Yorker contributing writer\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>alt-Valentine’s Day \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">Glasses glistening with airy bubbles of champagne. Decadent desserts decked in chocolate. \u003c/span>\u003cspan style=\"font-weight: 400\">Restaurant reservations booked weeks in advance. This Valentine’s Day, why not spice things up with a departure from tradition, like making savory dumplings with fillings that appeal to the pickiest of palates? Or making pasta with your Valentine from scratch with just flour, water and a dash of culinary adventure? We hear from our guests about alternative ways to celebrate the special day and also personal stories that reveal the single ingredient you need: quality time with that special someone. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guests:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Ellen Fort, food editor, Sunset Magazine\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Alan Montecillo, editor, KQED’s The Bay\u003c/span>\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Democratic Presidential Race \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">This week, Vermont Sen. Bernie Sanders was declared the winner in the New Hampshire primary, narrowly edging out former South Bend Mayor Pete Buttigieg. Sen. Amy Klobuchar of Minnesota finished third, riding a resurgent wave of support after a strong debate performance in New Hampshire last week. Former Vice President Joe Biden’s support has slipped and progressive Massachusetts Sen. Elizabeth Warren’s campaign is also in trouble after a poor showing in New Hampshire and Iowa. Candidates are now turning their attention to South Carolina and Nevada, states with large numbers of black and Latino voters, unlike Iowa and New Hampshire. Meanwhile, billionaire and former New York Mayor Michael Bloomberg decided to skip the early nominating states and instead pour hundreds of millions of dollars on ad buys in California and other states that are key to winning the nomination. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Paul Mitchell, vice-president, Political Data, Inc.\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Megan Messerly, lead 2020 election reporter, The Nevada Independent\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>‘Uncanny Valley’ \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">In recent years, tech giants like Facebook and Google have reckoned with massive data breaches and anger over misinformation and disturbing content on their sites. On top of that, there’s the culture of Silicon Valley, a male-dominated, largely white workplace that often prizes the pursuit of profits over principles of equity and diversity. Now, a new book offers an insider’s account of life at a startup and the seductive promises of this “uncanny valley.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guest:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\"> Anna Wiener, author, “Uncanny Valley,” and The New Yorker contributing writer\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>alt-Valentine’s Day \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">Glasses glistening with airy bubbles of champagne. Decadent desserts decked in chocolate. \u003c/span>\u003cspan style=\"font-weight: 400\">Restaurant reservations booked weeks in advance. This Valentine’s Day, why not spice things up with a departure from tradition, like making savory dumplings with fillings that appeal to the pickiest of palates? Or making pasta with your Valentine from scratch with just flour, water and a dash of culinary adventure? We hear from our guests about alternative ways to celebrate the special day and also personal stories that reveal the single ingredient you need: quality time with that special someone. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Federal Equal Rights Amendment Moves Step Closer to Passage After House Vote",
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"content": "\u003cp>\u003cem>Updated 1 p.m. Thursday\u003c/em>\u003c/p>\n\u003cp>The U.S. House of Representatives voted on Thursday to approve a resolution paving the way for Congress to take up the Equal Rights Amendment, a constitutional amendment proposed nearly a century ago that would prohibit discrimination on the basis of one's sex.\u003c/p>\n\u003cp>Known as the ERA, the amendment was first proposed in 1923 by suffragist \u003ca href=\"https://www.equalrightsamendment.org/history\" target=\"_blank\" rel=\"noopener noreferrer\">Alice Paul\u003c/a>, and every session of Congress thereafter until it was approved by the House of Representatives in 1971 and the Senate the following year. The ERA needed three-quarters of state legislatures, or 38 states, to back it. But by the 1982 deadline, only 35 had. That changed in recent years, with state lawmakers in Nevada and Illinois approving the ERA; and \u003ca href=\"https://www.npr.org/2020/01/15/796754345/virginia-ratifies-the-equal-rights-amendment-decades-after-deadline\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia\u003c/a>, the 38th state, following suit in January.\u003c/p>\n\u003cp>The only thing standing in the way of the amendment, lawmakers said, was that 1982 deadline. That's where the resolution — \u003ca href=\"https://www.congress.gov/bill/116th-congress/house-joint-resolution/79\" target=\"_blank\" rel=\"noopener noreferrer\">H.J.Res.79\u003c/a>, sponsored by Democratic Bay Area Congresswoman Jackie Speier — came in to remove it. Democrats and Republicans have introduced a companion \u003ca href=\"https://www.congress.gov/bill/116th-congress/senate-joint-resolution/6\" rel=\"noopener noreferrer\" target=\"_blank\">joint resolution\u003c/a> in the U.S. Senate that lifts the deadline, too.\u003c/p>\n\u003cp>\"Our message here today is quite simple: We want in. We want in the (U.S.) Constitution,\" Speier said Wednesday at a press conference ahead of the vote. \"... Because women are not recognized in our founding document, the Constitution, as fully equal to men under the law. We are not equal.\"\u003c/p>\n\u003cp>\"It is a vote for America that we have fought so hard to become,\" she added. \"Our vote is also a strong message that women in America are done. We are done being harassed, assaulted and violated with impunity. We are done being paid less for the same work. We are done being discriminated against for our pregnancies.\"\u003c/p>\n\u003cfigure id=\"attachment_11744027\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11744027\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-800x646.jpg\" alt=\"A group of suffragettes in June 1920. Alice Paul, who first called for the constitutional amendment in 1923, is third from left on the bottom row.\" width=\"800\" height=\"646\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-800x646.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-1020x824.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of suffragists in June 1920. Alice Paul, who first called for the constitutional amendment in 1923, is third from left on the bottom row. \u003ccite>(National Photo Company Collection/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other lawmakers, including House Speaker Nancy Pelosi of San Francisco, spoke out in support of the resolution. Without the ERA being enshrined in the Constitution, women still face inequality under the law from the wage gap, pregnancy discrimination and sexual harassment, she said, resulting in them \"being underrepresented at the table.\"\u003c/p>\n\u003cp>\"This year that marks the centennial of women having the right to vote, it is a shameful reality that the Equal Rights Amendment still has not been enshrined in the Constitution,\" she said Thursday, referring to the \u003ca href=\"https://constitutioncenter.org/interactive-constitution/amendment/amendment-xix\" rel=\"noopener noreferrer\" target=\"_blank\">19th Amendment of 1920\u003c/a>. \"As a result, millions of American women still face inequality under the law and injustice in their careers and lives.\"\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='U.S. Rep. Jackie Speier']'It is a vote for America that we have fought so hard to become.'[/pullquote]Supporters say the Constitution doesn't provide protections against sex discrimination and that's why the ERA is needed. Opponents argue the amendment is a false pretext for abortion and that women are already protected against sex discrimination by other laws and the 14th Amendment. They point to gains made by women, such as being able to serve in the military and in combat, and say the need for such an amendment today is moot.\u003c/p>\n\u003cp>Concern about women’s rights since the election of President Trump and the rise of the #MeToo movement has re-energized efforts to ratify the amendment, which stalled when conservative women — led by Phyllis Schlafly, who began a group called Stop ERA — began to organize against it.\u003c/p>\n\u003cp>House Majority Leader Steny Hoyer, a Democrat from Maryland, said he recalled when his state ratified the ERA — in 1972.\u003c/p>\n\u003cp>[aside postID='news_11743996' label='The Equal Rights Amendment']\"I could not understand why women were not equal under our Constitution,\" he said Wednesday, asking why the nation's founders \"didn't say we hold these truths to be self-evident, that all humankind are created equal.\"\u003c/p>\n\u003cp>\"It's never too late to do the right thing,\" he said, noting, \"It is far past time to act.\"\u003c/p>\n\u003cp>One other potential hiccup for the ERA: Five states that approved it later rescinded their OK, and opponents and supporters disagree on whether that is legal.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated 1 p.m. Thursday\u003c/em>\u003c/p>\n\u003cp>The U.S. House of Representatives voted on Thursday to approve a resolution paving the way for Congress to take up the Equal Rights Amendment, a constitutional amendment proposed nearly a century ago that would prohibit discrimination on the basis of one's sex.\u003c/p>\n\u003cp>Known as the ERA, the amendment was first proposed in 1923 by suffragist \u003ca href=\"https://www.equalrightsamendment.org/history\" target=\"_blank\" rel=\"noopener noreferrer\">Alice Paul\u003c/a>, and every session of Congress thereafter until it was approved by the House of Representatives in 1971 and the Senate the following year. The ERA needed three-quarters of state legislatures, or 38 states, to back it. But by the 1982 deadline, only 35 had. That changed in recent years, with state lawmakers in Nevada and Illinois approving the ERA; and \u003ca href=\"https://www.npr.org/2020/01/15/796754345/virginia-ratifies-the-equal-rights-amendment-decades-after-deadline\" target=\"_blank\" rel=\"noopener noreferrer\">Virginia\u003c/a>, the 38th state, following suit in January.\u003c/p>\n\u003cp>The only thing standing in the way of the amendment, lawmakers said, was that 1982 deadline. That's where the resolution — \u003ca href=\"https://www.congress.gov/bill/116th-congress/house-joint-resolution/79\" target=\"_blank\" rel=\"noopener noreferrer\">H.J.Res.79\u003c/a>, sponsored by Democratic Bay Area Congresswoman Jackie Speier — came in to remove it. Democrats and Republicans have introduced a companion \u003ca href=\"https://www.congress.gov/bill/116th-congress/senate-joint-resolution/6\" rel=\"noopener noreferrer\" target=\"_blank\">joint resolution\u003c/a> in the U.S. Senate that lifts the deadline, too.\u003c/p>\n\u003cp>\"Our message here today is quite simple: We want in. We want in the (U.S.) Constitution,\" Speier said Wednesday at a press conference ahead of the vote. \"... Because women are not recognized in our founding document, the Constitution, as fully equal to men under the law. We are not equal.\"\u003c/p>\n\u003cp>\"It is a vote for America that we have fought so hard to become,\" she added. \"Our vote is also a strong message that women in America are done. We are done being harassed, assaulted and violated with impunity. We are done being paid less for the same work. We are done being discriminated against for our pregnancies.\"\u003c/p>\n\u003cfigure id=\"attachment_11744027\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11744027\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-800x646.jpg\" alt=\"A group of suffragettes in June 1920. Alice Paul, who first called for the constitutional amendment in 1923, is third from left on the bottom row.\" width=\"800\" height=\"646\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-800x646.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-160x129.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette-1020x824.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/04/04302019_suffragette.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of suffragists in June 1920. Alice Paul, who first called for the constitutional amendment in 1923, is third from left on the bottom row. \u003ccite>(National Photo Company Collection/Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other lawmakers, including House Speaker Nancy Pelosi of San Francisco, spoke out in support of the resolution. Without the ERA being enshrined in the Constitution, women still face inequality under the law from the wage gap, pregnancy discrimination and sexual harassment, she said, resulting in them \"being underrepresented at the table.\"\u003c/p>\n\u003cp>\"This year that marks the centennial of women having the right to vote, it is a shameful reality that the Equal Rights Amendment still has not been enshrined in the Constitution,\" she said Thursday, referring to the \u003ca href=\"https://constitutioncenter.org/interactive-constitution/amendment/amendment-xix\" rel=\"noopener noreferrer\" target=\"_blank\">19th Amendment of 1920\u003c/a>. \"As a result, millions of American women still face inequality under the law and injustice in their careers and lives.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Supporters say the Constitution doesn't provide protections against sex discrimination and that's why the ERA is needed. Opponents argue the amendment is a false pretext for abortion and that women are already protected against sex discrimination by other laws and the 14th Amendment. They point to gains made by women, such as being able to serve in the military and in combat, and say the need for such an amendment today is moot.\u003c/p>\n\u003cp>Concern about women’s rights since the election of President Trump and the rise of the #MeToo movement has re-energized efforts to ratify the amendment, which stalled when conservative women — led by Phyllis Schlafly, who began a group called Stop ERA — began to organize against it.\u003c/p>\n\u003cp>House Majority Leader Steny Hoyer, a Democrat from Maryland, said he recalled when his state ratified the ERA — in 1972.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\"I could not understand why women were not equal under our Constitution,\" he said Wednesday, asking why the nation's founders \"didn't say we hold these truths to be self-evident, that all humankind are created equal.\"\u003c/p>\n\u003cp>\"It's never too late to do the right thing,\" he said, noting, \"It is far past time to act.\"\u003c/p>\n\u003cp>One other potential hiccup for the ERA: Five states that approved it later rescinded their OK, and opponents and supporters disagree on whether that is legal.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Long Before Politics at the Oscars Was a Thing, There Was Sacheen Littlefeather",
"title": "Long Before Politics at the Oscars Was a Thing, There Was Sacheen Littlefeather",
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"content": "\u003cp>The night of the 45th Academy Awards, the tuxedo’d and tiara’d denizens of Hollywood expected Marlon Brando to show up on stage and accept his best actor accolade for “The Godfather.”\u003c/p>\n\u003cp>Instead, they got Sacheen Littlefeather.\u003c/p>\n\u003cp>From John Legend's stand against incarceration to Patricia Arquette's call for equal pay for women — political statements at the Oscars have become so commonplace in recent times, it’s hard to keep track of them all.\u003c/p>\n\u003cp>\u003ciframe title=\"9 Times the Oscars Got Political\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/OrK3jr0lewA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>But Littlefeather's actions as the first indigenous person to use the Oscars as a platform to protest the mistreatment of her people in 1973 continue to stand out to this day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hello, my name is Sacheen Littlefeather,\" said the 20-something California actress and activist as she stood under the lights. She was dressed in tribal dress and waving several pages of paper covered with typed text Brando had given her to read out that evening. \"He has asked me to tell you in a very long speech, which I cannot share with you presently because of time, but I will be glad to share with the press afterwards, that he very regretfully cannot accept this very generous award.\"\u003c/p>\n\u003cp>Littlefeather’s face lit up TV sets in more than \u003ca href=\"https://tvbythenumbers.zap2it.com/reference/academy-awards-show-ratings/\" target=\"_blank\" rel=\"noopener noreferrer\">24 million homes\u003c/a>, as she explained Brando’s decision to boycott the high-profile event and send her in his place.\u003c/p>\n\u003cp>\"And the reasons for this being the treatment of American Indians today by the film industry,\" she went on against a chorus of boos and cheers. \"And on television, in movie reruns and also with recent happenings at Wounded Knee.\"\u003c/p>\n\u003cp>\u003ciframe title=\"Marlon Brando's Oscar® win for "The Godfather"\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/2QUacU0I4yU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Littlefeather, who's half Apache and half white, is now in her seventies. She lives in Novato, a town about an hour north of San Francisco. Her speech about the representation of indigenous people on screen — and the U.S. government's recent suppression of Native American protesters at Wounded Knee on the Pine Ridge Reservation in South Dakota — may have been short, but she said it caused an immediate uproar.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Sacheen Littlefeather\"]'A lot of people were making money off of that racism of the Hollywood Indian. Of course, they’re going to boo. They don't want their evening interrupted.'[/pullquote]\u003c/p>\n\u003cp>\"All hell broke loose,\" she said, recalling the memory of being escorted off stage by a team of security guards when her 60 seconds were up.\u003c/p>\n\u003cp>Littlefeather said she narrowly avoided getting into a scrap with John Wayne in the wings. He was the biggest name in old-school westerns, which were riddled with negative stereotypes of Native Americans.\u003c/p>\n\u003cp>\"A lot of people were making money off of that racism of the Hollywood Indian,\" Littlefeather said. \"Of course, they’re going to boo. They don't want their evening interrupted.\"\u003c/p>\n\u003cp>\u003ciframe title=\"The Searchers (1956) - Cowboys vs. Indians Scene (4/10) | Movieclips\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/dc8glsGbIus?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"People were furious at Marlon Brando, that he had blindsided and ambushed them,\" said Bay Area-based film critic Michael Fox, who remembers watching the 1973 Oscars as a teenager and seeing the incident recaptured in the papers the next day. \"I'm sure the industry took it as a betrayal.\"\u003c/p>\n\u003cp>Littlefeather was living in San Francisco as a radio personality and Native American rights activist — she'd participated in the Native occupation of Alcatraz in the late 1960s — when Brando started speaking publicly about his support of Native Americans.\u003c/p>\n\u003cp>She said she was skeptical at first. So she got her neighbor, director Francis Ford Coppola, to deliver the movie star a letter she wrote that quizzed him about his intentions.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Sacheen Littlefeather\"]'I wanted to break barriers. I wanted to see young actresses acting not specifically a cowboy and Indian role, but a role being anything on the screen that you want to be.'[/pullquote]\u003c/p>\n\u003cp>\"It took him a year to get back to me,\" she said. \"But eventually he did.\"\u003c/p>\n\u003cp>Littlefeather said she could see Brando was sincere from his response. They began a friendship, which led to his request for her to stand in for him at the Oscars.\u003c/p>\n\u003cp>She said her stand at the 1973 Oscars wasn’t in vain.\u003c/p>\n\u003cp>\"The press showed up in South Dakota,\" she said. \"And they blasted open the story of Wounded Knee.\"\u003c/p>\n\u003cp>\u003ciframe title=\"Feb 28, 1973 Surveying Damage at Wounded Knee Video ABC News\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/Y1l1ACpRYrg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>But it ruined her career in the entertainment industry.\u003c/p>\n\u003cp>\"I was boycotted from that time forward,\" said the actress, who appeared in a few films — like the 1973 release \"Counselor at Crime\" — before the work dried up. \"I was never allowed on any of the major television shows, major productions of films.\"\u003c/p>\n\u003cp>\u003ciframe title='Sexy Sacheen Littlefeather on \"Counselor at Crime\" (Il Consigliori, 1973)' width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/8Kv1oc7IxY8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>There still aren’t many lead roles for Native Americans today. But things are slowly changing.\u003c/p>\n\u003cp>Apache actress Sivan Alyra Rose recently became the first indigenous North American to star in a Netflix series,\"\u003ca href=\"https://www.netflix.com/title/80210361\" target=\"_blank\" rel=\"noopener noreferrer\">Chambers,\u003c/a>\" last year. Also in 2019, Cherokee actor \u003ca href=\"https://www.wbur.org/hereandnow/2019/07/02/wes-studi-oscar-native-american\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Studi won an honorary Academy Award\u003c/a>, becoming the first Native American to win an Oscar since songwriter Buffy Sainte-Marie received a nod for her theme song \"Up Where We Belong\" from the movie \"An Officer and a Gentleman\" in 1983.\u003c/p>\n\u003cp>\u003ciframe title='\"Up Where We Belong\" Wins Original Song: 1983 Oscars' width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/YMRP0HVD63g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.commonwealthclub.org/events/archive/podcast/sacheen-littlefeather-and-sivan-alyra-rose-native-americans-film-and-media\" target=\"_blank\" rel=\"noopener noreferrer\">recent Commonwealth Club talk\u003c/a> in San Francisco, Oglala Lakota film producer Sarah Eagle Heart credited Littlefeather with paving the way for people like her.\u003c/p>\n\u003cp>\"Those of us that had to come afterwards in the industry, I know are grateful for you standing up and fighting for us to have a voice and for our issues to be heard as well,\" Eagle Heart said.\u003c/p>\n\u003cp>Littlefeather was a special guest at that event.\u003c/p>\n\u003cp>\"This is one of the reasons why I refused that Academy Award,\" Littlefeather responded. \"I wanted to break barriers. I wanted to see young actresses acting not specifically a cowboy and Indian role but a role being anything on the screen that you want to be.\"\u003c/p>\n\u003cp>\u003ciframe title=\"SACHEEN, Breaking the silence OFFICIAL TRAILER\" src=\"https://player.vimeo.com/video/316908967?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Littlefeather shares information about her life, activism and pioneering stand at the 45th Academy Awards in the recently released documentary, \"Sacheen, Breaking the Silence.\"\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Apache actress and activist's actions as the first indigenous person to use the Oscars as a platform to protest the mistreatment of her people continue to stand out to this day. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The night of the 45th Academy Awards, the tuxedo’d and tiara’d denizens of Hollywood expected Marlon Brando to show up on stage and accept his best actor accolade for “The Godfather.”\u003c/p>\n\u003cp>Instead, they got Sacheen Littlefeather.\u003c/p>\n\u003cp>From John Legend's stand against incarceration to Patricia Arquette's call for equal pay for women — political statements at the Oscars have become so commonplace in recent times, it’s hard to keep track of them all.\u003c/p>\n\u003cp>\u003ciframe title=\"9 Times the Oscars Got Political\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/OrK3jr0lewA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>But Littlefeather's actions as the first indigenous person to use the Oscars as a platform to protest the mistreatment of her people in 1973 continue to stand out to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hello, my name is Sacheen Littlefeather,\" said the 20-something California actress and activist as she stood under the lights. She was dressed in tribal dress and waving several pages of paper covered with typed text Brando had given her to read out that evening. \"He has asked me to tell you in a very long speech, which I cannot share with you presently because of time, but I will be glad to share with the press afterwards, that he very regretfully cannot accept this very generous award.\"\u003c/p>\n\u003cp>Littlefeather’s face lit up TV sets in more than \u003ca href=\"https://tvbythenumbers.zap2it.com/reference/academy-awards-show-ratings/\" target=\"_blank\" rel=\"noopener noreferrer\">24 million homes\u003c/a>, as she explained Brando’s decision to boycott the high-profile event and send her in his place.\u003c/p>\n\u003cp>\"And the reasons for this being the treatment of American Indians today by the film industry,\" she went on against a chorus of boos and cheers. \"And on television, in movie reruns and also with recent happenings at Wounded Knee.\"\u003c/p>\n\u003cp>\u003ciframe title=\"Marlon Brando's Oscar® win for "The Godfather"\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/2QUacU0I4yU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Littlefeather, who's half Apache and half white, is now in her seventies. She lives in Novato, a town about an hour north of San Francisco. Her speech about the representation of indigenous people on screen — and the U.S. government's recent suppression of Native American protesters at Wounded Knee on the Pine Ridge Reservation in South Dakota — may have been short, but she said it caused an immediate uproar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"All hell broke loose,\" she said, recalling the memory of being escorted off stage by a team of security guards when her 60 seconds were up.\u003c/p>\n\u003cp>Littlefeather said she narrowly avoided getting into a scrap with John Wayne in the wings. He was the biggest name in old-school westerns, which were riddled with negative stereotypes of Native Americans.\u003c/p>\n\u003cp>\"A lot of people were making money off of that racism of the Hollywood Indian,\" Littlefeather said. \"Of course, they’re going to boo. They don't want their evening interrupted.\"\u003c/p>\n\u003cp>\u003ciframe title=\"The Searchers (1956) - Cowboys vs. Indians Scene (4/10) | Movieclips\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/dc8glsGbIus?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"People were furious at Marlon Brando, that he had blindsided and ambushed them,\" said Bay Area-based film critic Michael Fox, who remembers watching the 1973 Oscars as a teenager and seeing the incident recaptured in the papers the next day. \"I'm sure the industry took it as a betrayal.\"\u003c/p>\n\u003cp>Littlefeather was living in San Francisco as a radio personality and Native American rights activist — she'd participated in the Native occupation of Alcatraz in the late 1960s — when Brando started speaking publicly about his support of Native Americans.\u003c/p>\n\u003cp>She said she was skeptical at first. So she got her neighbor, director Francis Ford Coppola, to deliver the movie star a letter she wrote that quizzed him about his intentions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"It took him a year to get back to me,\" she said. \"But eventually he did.\"\u003c/p>\n\u003cp>Littlefeather said she could see Brando was sincere from his response. They began a friendship, which led to his request for her to stand in for him at the Oscars.\u003c/p>\n\u003cp>She said her stand at the 1973 Oscars wasn’t in vain.\u003c/p>\n\u003cp>\"The press showed up in South Dakota,\" she said. \"And they blasted open the story of Wounded Knee.\"\u003c/p>\n\u003cp>\u003ciframe title=\"Feb 28, 1973 Surveying Damage at Wounded Knee Video ABC News\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/Y1l1ACpRYrg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>But it ruined her career in the entertainment industry.\u003c/p>\n\u003cp>\"I was boycotted from that time forward,\" said the actress, who appeared in a few films — like the 1973 release \"Counselor at Crime\" — before the work dried up. \"I was never allowed on any of the major television shows, major productions of films.\"\u003c/p>\n\u003cp>\u003ciframe title='Sexy Sacheen Littlefeather on \"Counselor at Crime\" (Il Consigliori, 1973)' width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/8Kv1oc7IxY8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>There still aren’t many lead roles for Native Americans today. But things are slowly changing.\u003c/p>\n\u003cp>Apache actress Sivan Alyra Rose recently became the first indigenous North American to star in a Netflix series,\"\u003ca href=\"https://www.netflix.com/title/80210361\" target=\"_blank\" rel=\"noopener noreferrer\">Chambers,\u003c/a>\" last year. Also in 2019, Cherokee actor \u003ca href=\"https://www.wbur.org/hereandnow/2019/07/02/wes-studi-oscar-native-american\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Studi won an honorary Academy Award\u003c/a>, becoming the first Native American to win an Oscar since songwriter Buffy Sainte-Marie received a nod for her theme song \"Up Where We Belong\" from the movie \"An Officer and a Gentleman\" in 1983.\u003c/p>\n\u003cp>\u003ciframe title='\"Up Where We Belong\" Wins Original Song: 1983 Oscars' width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/YMRP0HVD63g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.commonwealthclub.org/events/archive/podcast/sacheen-littlefeather-and-sivan-alyra-rose-native-americans-film-and-media\" target=\"_blank\" rel=\"noopener noreferrer\">recent Commonwealth Club talk\u003c/a> in San Francisco, Oglala Lakota film producer Sarah Eagle Heart credited Littlefeather with paving the way for people like her.\u003c/p>\n\u003cp>\"Those of us that had to come afterwards in the industry, I know are grateful for you standing up and fighting for us to have a voice and for our issues to be heard as well,\" Eagle Heart said.\u003c/p>\n\u003cp>Littlefeather was a special guest at that event.\u003c/p>\n\u003cp>\"This is one of the reasons why I refused that Academy Award,\" Littlefeather responded. \"I wanted to break barriers. I wanted to see young actresses acting not specifically a cowboy and Indian role but a role being anything on the screen that you want to be.\"\u003c/p>\n\u003cp>\u003ciframe title=\"SACHEEN, Breaking the silence OFFICIAL TRAILER\" src=\"https://player.vimeo.com/video/316908967?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Littlefeather shares information about her life, activism and pioneering stand at the 45th Academy Awards in the recently released documentary, \"Sacheen, Breaking the Silence.\"\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "coronvirus-fears-wont-stop-sf-lunar-new-year-festivities",
"title": "Coronavirus Fears Won't Stop SF Lunar New Year Festivities",
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"headTitle": "Coronavirus Fears Won’t Stop SF Lunar New Year Festivities | KQED",
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"content": "\u003cp>In a cavernous warehouse on San Francisco’s waterfront, Stephanie Mufson and her small team of builders and decorators are putting the final touches on an array of spectacularly gaudy floats. They’re for the city’s Chinese New Year Parade this weekend — 2020 is the Year of the Rat.\u003c/p>\n\u003cp>“We have rats everywhere!” Mufson said, pointing out a pair of massive gold rats looking very pleased with themselves as they teeter on a pile of gleaming treasure.\u003c/p>\n\u003cfigure id=\"attachment_11800366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800366\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41153_gold-rats-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gold rats await the Chinese New Year Parade at Pier 54. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cavernous space is a psychedelic jumble of outsize critters. Gold ones … red and white glittery ones … and cute little gray ones holding watering cans.\u003c/p>\n\u003cp>“So, yeah,” Mufson said. “A lot of different ways of interpreting the rat.”\u003c/p>\n\u003cp>Some U.S. cities have canceled their Chinese New Year celebrations this year, owing to safety concerns with the spread of the new coronavirus beyond China. But in San Francisco, host to one of the oldest and largest Lunar New Year festivals and parades in the country, things are going ahead as planned.\u003c/p>\n\u003cp>Donna Ng has been attending the event for more than 30 years. She said she’s not about to stay home because of the coronavirus.\u003c/p>\n\u003cp>“I don’t think it’s going to affect the parade,” Ng said. “We’re talking thousands and thousands and thousands of people and only a handful are sick.”\u003c/p>\n\u003cfigure id=\"attachment_11800364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800364\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime parade attendee Donna Ng hopes people won’t stay home from the celebrations out of fear of getting sick. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fears about the spread of the coronavirus have caused the cancellation of celebrations this year in cities of all sizes, like New York, Denver and Elk Grove near Sacramento.\u003c/p>\n\u003cp>“I know there’s a lot of concern right now,” said San Francisco event organizer William Gee. “And I think there’s a lot of confusion, maybe even some misinformation, depending on where you get it from.”\u003c/p>\n\u003cp>San Francisco officials are trying to allay concerns about the spread of the virus ahead of the weekend’s festivities. Norman Yee, president of the city’s Board of Supervisors, fears the virus is an opportunity for some people to justify racist attitudes against the Chinese-American community.\u003c/p>\n\u003cp>“I urge all people that come year after year to continue to come to this parade on Saturday and have the fun that they always have, and that we continue supporting our community at large but in particular our API and Chinese American businesses,” Yee said.\u003c/p>\n\u003cp>Gee said his team has been working through community concerns s, while at the same time maintaining a sense of perspective.\u003c/p>\n\u003cp>“Health officials still consider the San Francisco Bay Area to be at very, very low risk,” Gee said. “There are some health officials that actually say there’s a higher risk of contracting the flu rather than the coronavirus.”\u003c/p>\n\u003cp>Gee said organizers aren’t taking any special precautions for the event this weekend.\u003c/p>\n\u003cp>[aside postID=news_11798751 label='What You Need to Know' hero=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40986_iStock-1170728885-qut-1020x680.jpg\"]\u003c/p>\n\u003cp>“We’ll have wash bins where people can wash their hands,” he said. “There may be some antibacterial or disinfectant soap as well that people can use. But this is kind of standard fare that we’ve been offering year after year.”\u003c/p>\n\u003cp>The city’s Department of Public Health is currently not recommending the cancellation of public events and is advising attendees to take the usual wintertime precautions: Wash hands, get a flu shot and cover coughs and sneezes.\u003c/p>\n\u003cp>“If people want to come out for the parade, they should feel free to do so,” said Susan Philip, director of the disease prevention and control branch at San Francisco Department of Public Health.\u003c/p>\n\u003cp>Longtime parade attendee Ng said she hopes people won’t stay away from this weekend’s festivities because they’re scared of getting sick, and suggests wearing a mask if that makes you feel more comfortable.\u003c/p>\n\u003cp>“If people want to wear masks, that’s up to them,” Ng said. “But I’m not planning on it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>KQED’s Marco Siler-Gonzales contributed to this report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "Coronavirus Fears Won't Stop SF Lunar New Year Festivities | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a cavernous warehouse on San Francisco’s waterfront, Stephanie Mufson and her small team of builders and decorators are putting the final touches on an array of spectacularly gaudy floats. They’re for the city’s Chinese New Year Parade this weekend — 2020 is the Year of the Rat.\u003c/p>\n\u003cp>“We have rats everywhere!” Mufson said, pointing out a pair of massive gold rats looking very pleased with themselves as they teeter on a pile of gleaming treasure.\u003c/p>\n\u003cfigure id=\"attachment_11800366\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800366\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41153_gold-rats-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41153_gold-rats-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gold rats await the Chinese New Year Parade at Pier 54. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cavernous space is a psychedelic jumble of outsize critters. Gold ones … red and white glittery ones … and cute little gray ones holding watering cans.\u003c/p>\n\u003cp>“So, yeah,” Mufson said. “A lot of different ways of interpreting the rat.”\u003c/p>\n\u003cp>Some U.S. cities have canceled their Chinese New Year celebrations this year, owing to safety concerns with the spread of the new coronavirus beyond China. But in San Francisco, host to one of the oldest and largest Lunar New Year festivals and parades in the country, things are going ahead as planned.\u003c/p>\n\u003cp>Donna Ng has been attending the event for more than 30 years. She said she’s not about to stay home because of the coronavirus.\u003c/p>\n\u003cp>“I don’t think it’s going to affect the parade,” Ng said. “We’re talking thousands and thousands and thousands of people and only a handful are sick.”\u003c/p>\n\u003cfigure id=\"attachment_11800364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800364\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/02/RS41150_Donna-Ng-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime parade attendee Donna Ng hopes people won’t stay home from the celebrations out of fear of getting sick. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fears about the spread of the coronavirus have caused the cancellation of celebrations this year in cities of all sizes, like New York, Denver and Elk Grove near Sacramento.\u003c/p>\n\u003cp>“I know there’s a lot of concern right now,” said San Francisco event organizer William Gee. “And I think there’s a lot of confusion, maybe even some misinformation, depending on where you get it from.”\u003c/p>\n\u003cp>San Francisco officials are trying to allay concerns about the spread of the virus ahead of the weekend’s festivities. Norman Yee, president of the city’s Board of Supervisors, fears the virus is an opportunity for some people to justify racist attitudes against the Chinese-American community.\u003c/p>\n\u003cp>“I urge all people that come year after year to continue to come to this parade on Saturday and have the fun that they always have, and that we continue supporting our community at large but in particular our API and Chinese American businesses,” Yee said.\u003c/p>\n\u003cp>Gee said his team has been working through community concerns s, while at the same time maintaining a sense of perspective.\u003c/p>\n\u003cp>“Health officials still consider the San Francisco Bay Area to be at very, very low risk,” Gee said. “There are some health officials that actually say there’s a higher risk of contracting the flu rather than the coronavirus.”\u003c/p>\n\u003cp>Gee said organizers aren’t taking any special precautions for the event this weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"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",
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