Evangeline Elder, Brand Whisperer and Festival Co-Founder, is Demystifying the Music Industry
How Fantastic Negrito, Rexx Life Raj and Salami Rose Joe Louis Pivoted from Touring
Tacos Oscar is Staying Afloat During the Pandemic By Taking Their Time
Cash Monet Sashays from Drag Clubs to Twitch Streams
A Filmmaker Turns to Organizing Through Mutual Aid
During Shutdown, Sharpening Knives Helps a Restaurant Worker Pay the Bills
How a 23-Year-Old Tattoo Artist, Sidelined by Shutdown, Is Getting By
Art Students Demand Tuition Refunds As Classes Go Online
Emergency Funds for Freelancers, Creatives Losing Income During Coronavirus
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Fast forward through several Anderson .Paak tours, music festival appearances and an opening gig for Beyoncé, and the band just celebrated their first Grammy nomination earlier this month with a hi-fi Dolby Atmos version of their album, a huge Times Square billboard and a Twitch concert sponsored by Amazon.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13893043/how-rexx-life-raj-fantastic-negrito-and-salami-rose-joe-louis-pivoted-from-touring\" target=\"_blank\" rel=\"noopener noreferrer\">Without live shows\u003c/a>, the last year has created numerous obstacles to visibility and income for independent artists. But the Free Nationals were able to ink those deals with the help of Evangeline Elder, who works in brand partnerships at the San Francisco distribution label \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2012-empire-brought-the-music-industry-back-to-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">EMPIRE\u003c/a>.\u003c/p>\n\u003cp>While artists from past generations might have balked at the prospect of “selling out” to advertising, Elder sees it as a way to open up resources once reserved for the big stars to independent artists.\u003c/p>\n\u003cp>https://twitter.com/freenationalsXX/status/1370757180631093250?s=20\u003c/p>\n\u003cp>“We’re in a new era where you can tell a brand what you want and build a plan around your goals as an artist,” says Elder in a recent Zoom interview, mentioning collaborations she helped make happen for \u003ca href=\"https://www.instagram.com/p/CMVbUGBgPL-/\" target=\"_blank\" rel=\"noopener noreferrer\">D Smoke and Puma\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CMAqb4bgFfQ/\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Jackson and Bumble\u003c/a>. “And the pandemic actually lit that on fire further. When touring disappeared, brand partnerships for everyone became a new channel of revenue, a new channel of collaboration and relevancy. When you can’t tour, when you can’t have those in-person moments that you display across your socials, you have to look at your career and figure out how you generate energy. How are you generating attention? That’s what the name of the game is these days.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CMAqb4bgFfQ/\u003c/p>\n\u003cp>Also an \u003ca href=\"http://allanglesagency.com/\" target=\"_blank\" rel=\"noopener noreferrer\">artist manager\u003c/a> and the co-founder of the Oakland festival and conference \u003ca href=\"https://womensoundoff.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Women Sound Off\u003c/a>, Elder took an unconventional route to becoming a behind-the-scenes mover and shaker in the music industry. In her different roles, she brings an entrepreneurial passion for helping artists get paid for realizing their dreams, all the while championing a “lift all boats” philosophy to get women—especially Black women and other women of color—more recognition in the industry.\u003c/p>\n\u003cp>“This new generation you’re seeing the past 10 years in the social media era, where women who are making moves behind the scenes now have a public following for their business acumen—that’s a fairly new thing,” says Elder.\u003c/p>\n\u003cp>Things were very different when she got started in music after graduating from UC Riverside in 2013. She witnessed women getting typecast and sexualized—or simply sidelined if they weren’t deemed appealing enough for the male gaze. “I didn’t want to be [backstage] because I was an object or someone’s girlfriend,” Elder says. “I wanted to be back there and be 5’9” and plus-sized and have a purpose and command your attention.”\u003c/p>\n\u003cp>[dropcap]E[/dropcap]lder’s confidence and self-motivated hustle developed early while watching her parents, serial entrepreneurs who were also active in community service through their church. Their bakery, Elder’s Gourmet Bakery and Deli on MacArthur Boulevard and 73rd Avenue, had a cult following in East Oakland for its sweet potato pies and 7 Up cakes in the late ’80s and ’90s, and was featured on Oakland’s pioneering, Black-owned television network Soul Beat TV. (In true Oakland fashion, their wholesome commercial about birthday cakes and sandwiches had a Too $hort beat playing in the background.) [aside postid='arts_13877570']\u003c/p>\n\u003cp>In those days, Elder’s parents also ran a day care and a senior care facility. And even though money was sometimes tight during her childhood, she says they never let her and her siblings know it. “My parents were very sharp people. They weren’t just smart. They understood what pieces needed to be moved in order for an outcome to be had,” Elder remembers. “They always accounted for the things people didn’t account for. That’s something that I can say rubbed off on me. … I wouldn’t be who I am if I was that little girl in the back of the car watching them work and make their rounds.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BxY8hPDgwFq/\u003c/p>\n\u003cp>Elder’s parents were avid record collectors who enlisted her help for crate digging at garage sales. They had the Jackson 5 and the Temptations on heavy rotation, and also loved albums by gospel star Mahalia Jackson and even Martin Luther King speeches on wax. These trips imbued Elder with a taste for music with soul, rhythm and a social purpose—a fair characterization of the artists she works with today.\u003c/p>\n\u003cp>In middle school and high school—like most millennials with a passion for music—Elder’s first experiences in curation came in the form of burning mix CDs for her friends. But when she entered college, she couldn’t see a direct line to a creative career.\u003c/p>\n\u003cp>She majored in public policy but didn’t find herself inspired, and soon her life became consumed with drinking and partying. A rude awakening came in the form of a near-death experience in 2013. During her last year of college, a hit-and-run collision in Los Angeles caused her car to hit a pole and spin three times. By the time she was able to unbuckle herself and climb out of her upside down vehicle, her shoes were on the other side of the freeway. But other than a cut on her foot, she was mostly unscathed.\u003c/p>\n\u003cp>[pullquote size='large' citation='Evangeline Elder']“I didn’t want to be [backstage] because I was an object or someone’s girlfriend. I wanted to be back there and be 5’9” and plus-sized and have a purpose and command your attention.”[/pullquote]\u003c/p>\n\u003cp>“I just kind of woke up after that accident mentally, and I realized I was wasting my existence,” she says. “If my life would have ended that night, I wouldn’t have done anything that I wanted to. I wouldn’t have nourished any creative projects.”\u003c/p>\n\u003cp>A week later, Elder launched her first venture, Rehab Online Magazine, from her university’s computer lab. In the early 2010s, music blogs, Soundcloud and Tumblr were the flourishing, new spaces for taste-making, and Elder was blogging about the burgeoning, soul- and jazz-influenced, indie rap and R&B scene that artists like Duckwrth, Xavier Omar and Masego were pioneering at the time.\u003c/p>\n\u003cp>“It was this alternative renaissance,” she says. “Illroots and \u003cem>The Fader\u003c/em> were reporting on all these artists that didn’t have marketing plans, reporting on unsigned artists. So I was really enamored with this new sound.”\u003c/p>\n\u003cp>[dropcap]W[/dropcap]ith the rise of curated Spotify playlists and social media, the music blog era came to an end, and Elder quietly retired Rehab Online Magazine in 2017. But that same year, she launched an even bigger venture, Women Sound Off, the interdisciplinary arts conference and festival she dreamed up with her close friend Carmena Woodward, a.k.a. DJ Red Corvette.\u003c/p>\n\u003cfigure id=\"attachment_13894630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/IMG_1156-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evangeline Elder (far right) at a Women Sound Off panel in 2019. \u003ccite>(Belinda Mann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It started off under the name Women In Music, and featured concerts, panels, wellness workshops, art markets and mixers where local, independent artists and established women in the industry alike were welcome. (I was a panelist in 2017 and ’18.) Each year, she and Woodward worked around the clock booking artists and locations, coordinating volunteers and lining up corporate partners like Pandora. 2019—the same year Elder started her job at EMPIRE—was Women Sound Off’s biggest year: it expanded to include year-round events, and was featured in \u003cem>\u003ca href=\"https://www.theguardian.com/music/2019/aug/20/all-female-music-festival-lineups-native-loud-women-fest-boudica-hearher\" target=\"_blank\" rel=\"noopener noreferrer\">The Guardian\u003c/a>\u003c/em> and \u003ca href=\"https://www.forbes.com/sites/janeclairehervey/2019/01/14/19-conferences-every-creative-should-attend-in-2019/?sh=a775e5d3e218\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Forbes\u003c/em>\u003c/a>, who called it a conference “every creative should attend in 2019.”\u003c/p>\n\u003cp>Then, of course, came the pandemic. Slated for April 2020, Women Sound Off was one of the first events to get canceled as shelter-in-place orders shut down the arts in the Bay Area. Although it throttled the festival’s plans, the pandemic also allowed Elder to take a much-needed mental health break, especially as non-stop videos of violence and racism dominated news feeds during the George Floyd protests and beyond.\u003c/p>\n\u003cp>While Women Sound Off had always been engaged with its community on social media and continued to put on online events in the past year, “there was a lot of pressure on digital platforms to become rapid response platforms,” she recalls. “People don’t realize that as a Black person who is running a platform, it can be very, very triggering to report on Black death or on cop killings over and over. That was something that 100% slowed me down, rightfully so. I was not willing to sacrifice my own mental health to satisfy the internet.”\u003c/p>\n\u003cp>Learning to prioritize self-care has been an important journey for Elder, who has long lived with clinical depression. After a much-needed six-month recharge last year, she was able to dive back into her work in a more purposeful way. Women Sound Off partnered with her sister Candice Elder’s community organizing group, \u003ca href=\"https://www.eastoaklandcollective.com/our-team.html\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a>, for a massive food drive serving residents of some of the neighborhoods hit hardest by the pandemic. [aside postid='arts_13828811']\u003c/p>\n\u003cp>“That was a full circle moment where you could see the Elder power harnessed for good,” she says.\u003c/p>\n\u003cp>It also coincided with some of Elder’s most successful brand collaborations at EMPIRE. She helped secure sponsorship from Tequila Herradura for the label’s \u003ca href=\"https://music.empi.re/voicesforchange1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Voices for Change Vol. 1\u003c/em>\u003c/a> compilation, which featured a slate of the EMPIRE’s up-and-coming artists—including Sacramento heavyweight Mozzy, Berkeley’s \u003ca href=\"https://www.kqed.org/arts/13893043/how-rexx-life-raj-fantastic-negrito-and-salami-rose-joe-louis-pivoted-from-touring\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and Chicago rapper and singer Jean Deaux, whom Elder manages. The project raised money for the ACLU and was part of a voter registration campaign.\u003c/p>\n\u003cp>All while doing these projects, Elder’s latest endeavor has been mentoring other artist managers. Her goal is to demystify the music business and remove barriers to entry—especially for Black creatives who spur so much of the innovation but don’t always see the profits.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I account for resources. I account for being a low-income manager or a low-income executive who is not in any famous, rich Hollywood circles,” she says. “I account for independent artists who don’t have more than $200 for their roll-out and want to make noise. I hope that more people start consulting and bringing out a different level of realness in the industry that doesn’t reek of fucking privilege.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1868,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":27},"modified":1705019283,"excerpt":"She didn't see many women on the business side of music, so she charted a path that led her to EMPIRE and Women Sound Off.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"She didn't see many women on the business side of music, so she charted a path that led her to EMPIRE and Women Sound Off.","title":"Evangeline Elder, Brand Whisperer and Festival Co-Founder, is Demystifying the Music Industry | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Evangeline Elder, Brand Whisperer and Festival Co-Founder, is Demystifying the Music Industry","datePublished":"2021-03-25T16:27:59-07:00","dateModified":"2024-01-11T16:28:03-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"evangeline-elder-women-sound-off-empire","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13894449/evangeline-elder-women-sound-off-empire","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">J\u003c/span>\u003c/p>\u003cp>ust a few years ago, the Free Nationals were a humble soul quartet providing entertainment at weddings. Fast forward through several Anderson .Paak tours, music festival appearances and an opening gig for Beyoncé, and the band just celebrated their first Grammy nomination earlier this month with a hi-fi Dolby Atmos version of their album, a huge Times Square billboard and a Twitch concert sponsored by Amazon.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13893043/how-rexx-life-raj-fantastic-negrito-and-salami-rose-joe-louis-pivoted-from-touring\" target=\"_blank\" rel=\"noopener noreferrer\">Without live shows\u003c/a>, the last year has created numerous obstacles to visibility and income for independent artists. But the Free Nationals were able to ink those deals with the help of Evangeline Elder, who works in brand partnerships at the San Francisco distribution label \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2012-empire-brought-the-music-industry-back-to-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">EMPIRE\u003c/a>.\u003c/p>\n\u003cp>While artists from past generations might have balked at the prospect of “selling out” to advertising, Elder sees it as a way to open up resources once reserved for the big stars to independent artists.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1370757180631093250"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“We’re in a new era where you can tell a brand what you want and build a plan around your goals as an artist,” says Elder in a recent Zoom interview, mentioning collaborations she helped make happen for \u003ca href=\"https://www.instagram.com/p/CMVbUGBgPL-/\" target=\"_blank\" rel=\"noopener noreferrer\">D Smoke and Puma\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CMAqb4bgFfQ/\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Jackson and Bumble\u003c/a>. “And the pandemic actually lit that on fire further. When touring disappeared, brand partnerships for everyone became a new channel of revenue, a new channel of collaboration and relevancy. When you can’t tour, when you can’t have those in-person moments that you display across your socials, you have to look at your career and figure out how you generate energy. How are you generating attention? That’s what the name of the game is these days.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramUrl":"https://www.instagram.com/p/CMAqb4bgFfQ/"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Also an \u003ca href=\"http://allanglesagency.com/\" target=\"_blank\" rel=\"noopener noreferrer\">artist manager\u003c/a> and the co-founder of the Oakland festival and conference \u003ca href=\"https://womensoundoff.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Women Sound Off\u003c/a>, Elder took an unconventional route to becoming a behind-the-scenes mover and shaker in the music industry. In her different roles, she brings an entrepreneurial passion for helping artists get paid for realizing their dreams, all the while championing a “lift all boats” philosophy to get women—especially Black women and other women of color—more recognition in the industry.\u003c/p>\n\u003cp>“This new generation you’re seeing the past 10 years in the social media era, where women who are making moves behind the scenes now have a public following for their business acumen—that’s a fairly new thing,” says Elder.\u003c/p>\n\u003cp>Things were very different when she got started in music after graduating from UC Riverside in 2013. She witnessed women getting typecast and sexualized—or simply sidelined if they weren’t deemed appealing enough for the male gaze. “I didn’t want to be [backstage] because I was an object or someone’s girlfriend,” Elder says. “I wanted to be back there and be 5’9” and plus-sized and have a purpose and command your attention.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">E\u003c/span>\u003c/p>\u003cp>lder’s confidence and self-motivated hustle developed early while watching her parents, serial entrepreneurs who were also active in community service through their church. Their bakery, Elder’s Gourmet Bakery and Deli on MacArthur Boulevard and 73rd Avenue, had a cult following in East Oakland for its sweet potato pies and 7 Up cakes in the late ’80s and ’90s, and was featured on Oakland’s pioneering, Black-owned television network Soul Beat TV. (In true Oakland fashion, their wholesome commercial about birthday cakes and sandwiches had a Too $hort beat playing in the background.) \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13877570","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In those days, Elder’s parents also ran a day care and a senior care facility. And even though money was sometimes tight during her childhood, she says they never let her and her siblings know it. “My parents were very sharp people. They weren’t just smart. They understood what pieces needed to be moved in order for an outcome to be had,” Elder remembers. “They always accounted for the things people didn’t account for. That’s something that I can say rubbed off on me. … I wouldn’t be who I am if I was that little girl in the back of the car watching them work and make their rounds.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramUrl":"https://www.instagram.com/p/BxY8hPDgwFq/"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Elder’s parents were avid record collectors who enlisted her help for crate digging at garage sales. They had the Jackson 5 and the Temptations on heavy rotation, and also loved albums by gospel star Mahalia Jackson and even Martin Luther King speeches on wax. These trips imbued Elder with a taste for music with soul, rhythm and a social purpose—a fair characterization of the artists she works with today.\u003c/p>\n\u003cp>In middle school and high school—like most millennials with a passion for music—Elder’s first experiences in curation came in the form of burning mix CDs for her friends. But when she entered college, she couldn’t see a direct line to a creative career.\u003c/p>\n\u003cp>She majored in public policy but didn’t find herself inspired, and soon her life became consumed with drinking and partying. A rude awakening came in the form of a near-death experience in 2013. During her last year of college, a hit-and-run collision in Los Angeles caused her car to hit a pole and spin three times. By the time she was able to unbuckle herself and climb out of her upside down vehicle, her shoes were on the other side of the freeway. But other than a cut on her foot, she was mostly unscathed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“I didn’t want to be [backstage] because I was an object or someone’s girlfriend. I wanted to be back there and be 5’9” and plus-sized and have a purpose and command your attention.”","name":"pullquote","attributes":{"named":{"size":"large","citation":"Evangeline Elder","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I just kind of woke up after that accident mentally, and I realized I was wasting my existence,” she says. “If my life would have ended that night, I wouldn’t have done anything that I wanted to. I wouldn’t have nourished any creative projects.”\u003c/p>\n\u003cp>A week later, Elder launched her first venture, Rehab Online Magazine, from her university’s computer lab. In the early 2010s, music blogs, Soundcloud and Tumblr were the flourishing, new spaces for taste-making, and Elder was blogging about the burgeoning, soul- and jazz-influenced, indie rap and R&B scene that artists like Duckwrth, Xavier Omar and Masego were pioneering at the time.\u003c/p>\n\u003cp>“It was this alternative renaissance,” she says. “Illroots and \u003cem>The Fader\u003c/em> were reporting on all these artists that didn’t have marketing plans, reporting on unsigned artists. So I was really enamored with this new sound.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>ith the rise of curated Spotify playlists and social media, the music blog era came to an end, and Elder quietly retired Rehab Online Magazine in 2017. But that same year, she launched an even bigger venture, Women Sound Off, the interdisciplinary arts conference and festival she dreamed up with her close friend Carmena Woodward, a.k.a. DJ Red Corvette.\u003c/p>\n\u003cfigure id=\"attachment_13894630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/IMG_1156-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/IMG_1156-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evangeline Elder (far right) at a Women Sound Off panel in 2019. \u003ccite>(Belinda Mann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It started off under the name Women In Music, and featured concerts, panels, wellness workshops, art markets and mixers where local, independent artists and established women in the industry alike were welcome. (I was a panelist in 2017 and ’18.) Each year, she and Woodward worked around the clock booking artists and locations, coordinating volunteers and lining up corporate partners like Pandora. 2019—the same year Elder started her job at EMPIRE—was Women Sound Off’s biggest year: it expanded to include year-round events, and was featured in \u003cem>\u003ca href=\"https://www.theguardian.com/music/2019/aug/20/all-female-music-festival-lineups-native-loud-women-fest-boudica-hearher\" target=\"_blank\" rel=\"noopener noreferrer\">The Guardian\u003c/a>\u003c/em> and \u003ca href=\"https://www.forbes.com/sites/janeclairehervey/2019/01/14/19-conferences-every-creative-should-attend-in-2019/?sh=a775e5d3e218\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Forbes\u003c/em>\u003c/a>, who called it a conference “every creative should attend in 2019.”\u003c/p>\n\u003cp>Then, of course, came the pandemic. Slated for April 2020, Women Sound Off was one of the first events to get canceled as shelter-in-place orders shut down the arts in the Bay Area. Although it throttled the festival’s plans, the pandemic also allowed Elder to take a much-needed mental health break, especially as non-stop videos of violence and racism dominated news feeds during the George Floyd protests and beyond.\u003c/p>\n\u003cp>While Women Sound Off had always been engaged with its community on social media and continued to put on online events in the past year, “there was a lot of pressure on digital platforms to become rapid response platforms,” she recalls. “People don’t realize that as a Black person who is running a platform, it can be very, very triggering to report on Black death or on cop killings over and over. That was something that 100% slowed me down, rightfully so. I was not willing to sacrifice my own mental health to satisfy the internet.”\u003c/p>\n\u003cp>Learning to prioritize self-care has been an important journey for Elder, who has long lived with clinical depression. After a much-needed six-month recharge last year, she was able to dive back into her work in a more purposeful way. Women Sound Off partnered with her sister Candice Elder’s community organizing group, \u003ca href=\"https://www.eastoaklandcollective.com/our-team.html\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a>, for a massive food drive serving residents of some of the neighborhoods hit hardest by the pandemic. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13828811","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That was a full circle moment where you could see the Elder power harnessed for good,” she says.\u003c/p>\n\u003cp>It also coincided with some of Elder’s most successful brand collaborations at EMPIRE. She helped secure sponsorship from Tequila Herradura for the label’s \u003ca href=\"https://music.empi.re/voicesforchange1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Voices for Change Vol. 1\u003c/em>\u003c/a> compilation, which featured a slate of the EMPIRE’s up-and-coming artists—including Sacramento heavyweight Mozzy, Berkeley’s \u003ca href=\"https://www.kqed.org/arts/13893043/how-rexx-life-raj-fantastic-negrito-and-salami-rose-joe-louis-pivoted-from-touring\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and Chicago rapper and singer Jean Deaux, whom Elder manages. The project raised money for the ACLU and was part of a voter registration campaign.\u003c/p>\n\u003cp>All while doing these projects, Elder’s latest endeavor has been mentoring other artist managers. Her goal is to demystify the music business and remove barriers to entry—especially for Black creatives who spur so much of the innovation but don’t always see the profits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I account for resources. I account for being a low-income manager or a low-income executive who is not in any famous, rich Hollywood circles,” she says. “I account for independent artists who don’t have more than $200 for their roll-out and want to make noise. I hope that more people start consulting and bringing out a different level of realness in the industry that doesn’t reek of fucking privilege.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894449/evangeline-elder-women-sound-off-empire","authors":["11387"],"series":["arts_4525"],"categories":["arts_1"],"tags":["arts_2457","arts_10278","arts_4213"],"featImg":"arts_13894626","label":"arts_4525"},"arts_13893043":{"type":"posts","id":"arts_13893043","meta":{"index":"posts_1716263798","site":"arts","id":"13893043","score":null,"sort":[1614182436000]},"parent":0,"labelTerm":{"site":"arts","term":4525},"blocks":[],"publishDate":1614182436,"format":"standard","title":"How Fantastic Negrito, Rexx Life Raj and Salami Rose Joe Louis Pivoted from Touring","headTitle":"How Fantastic Negrito, Rexx Life Raj and Salami Rose Joe Louis Pivoted from Touring | KQED","content":"\u003cp>In any successful musician’s career, there comes a time when they think to themselves, \u003cem>OK, maybe I could really do this\u003c/em>. Their day job starts to feel tedious after late nights of playing shows and recording in the studio, and slowly all that work begins to pay off with a growing fanbase and new opportunities.\u003c/p>\n\u003cp>After months—or years—of keeping up this juggling act, they finally take the plunge and decide to go into music full time. Then, of course, come more sacrifices. Streaming and album sales don’t earn much unless you’re über-famous. So for most artists, doing what they love professionally requires spending large parts of the year on tour.\u003c/p>\n\u003cp>But—cue record scratch—the pandemic upended that entire economy, and musicians have been essentially out of work for almost a year. While many are understandably struggling—creatively, financially and in terms of mental health—as the state of the world continues to resemble a dumpster fire, others have relished the opportunity to pause, recalibrate and find new directions. [aside postid='arts_13890093']\u003c/p>\n\u003cp>To see how different artists are handling all these changes, I caught up with three Bay Area musicians who’ve taken different paths: Grammy-winning blues-rock singer Fantastic Negrito, rapper-producer Rexx Life Raj and Salami Rose Joe Louis bandleader Lindsay Olsen.\u003c/p>\n\u003ch2>Up for a Grammy, Fantastic Negrito Focuses on Urban Farming\u003c/h2>\n\u003cp>\u003ca href=\"https://fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fantastic Negrito\u003c/a>’s music career hasn’t followed what anyone would call a linear path. As a teenager in the ’90s, he ran away from home and landed a major \u003ca href=\"https://www.wired.com/2015/09/7-stories-about-fantastic-negrito/\" target=\"_blank\" rel=\"noopener noreferrer\">label deal at Interscope\u003c/a>, only to be dropped by them after he survived a debilitating car crash. He thought his music career was over, but he rediscovered his passion and started busking on the streets of Oakland in his 40s. Winning the \u003ca href=\"https://www.youtube.com/watch?v=ymYjwsFz8iM&ab_channel=NPRMusic\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Tiny Desk contest\u003c/a> in 2015 brought him once again into the national spotlight. Fast forward to 2021, and he’s up for his third Grammy for his latest album, \u003cem>Have You Lost Your Mind Yet?\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My life has been rocked with challenges and obstacles all along the way since birth. It’s normal to have things to not go as planned,” says Fantastic Negrito when I ask about the past year.\u003c/p>\n\u003cp>That’s not to say handling them has been easy. He says he previously made about 80% of his income from live shows, and was getting ready to head on a tour across Europe, Asia and South America when shelter-in-place orders came down in the Bay Area and the concert industry effectively shut down.\u003c/p>\n\u003cp>“I woke up one morning like, ‘Hey, you don’t have any money coming in,’” he says. “I have mouths to feed—I have children, I have animals, I have it all.”\u003c/p>\n\u003cp>But instead of panicking, he steeled himself: “We have to rise to the challenge. I believe that, and I come from a long line of people who have done that.”\u003c/p>\n\u003cp>With touring canceled, Fantastic Negrito got online and revamped his merch store. He also began to craft a digital rollout strategy for \u003cem>Have You Lost Your Mind Yet?\u003c/em>, which came out in July. A crowdsourced video for the lead single, “Chocolate Samurai,” captured the stir-crazy mood of the first pandemic summer with footage of fellow musicians, friends and fans singing along inside their houses, looking slightly frazzled as they chase their children, work out to pass the time and tend to never-ending piles of dishes.\u003c/p>\n\u003cp>https://youtu.be/bolqbyi1VMQ\u003c/p>\n\u003cp>“I really got involved digitally with the album online because I knew people needed music and they’d be at home—so they needed even more music,” he says.\u003c/p>\n\u003cp>The approach worked. \u003cem>Have You Lost Your Mind Yet?\u003c/em> hit No. 1 on Billboard’s blues chart. And support came in other ways: a grant from \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a> and a gig at their virtual festival.\u003c/p>\n\u003cp>“They were one of the people who compensated their artists fairly,” Fantastic Negrito says, adding that he’s had to turn down numerous asks to perform for free.\u003c/p>\n\u003cp>Last month, Fantastic Negrito treated his U.S. fans to a virtual concert, and livestreams for his listeners in Europe and South America are also in the works. He’s also received commissions from the Oakland Roots soccer team and the local beer company Ale Industries, and flew to Atlanta to work on an undisclosed television project.\u003c/p>\n\u003cp>The time away from touring has also given him space to work on two ideas he’s had brewing for a while: his newly announced, genre-less independent record label, \u003ca href=\"https://www.storefrontrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Storefront Records\u003c/a>, which he started to develop artists who “do not want to be famous,” and Revolution Plantation, his urban farm. He hopes to expand \u003ca href=\"https://www.instagram.com/revolutionplantation/\" target=\"_blank\" rel=\"noopener noreferrer\">Revolution Plantation\u003c/a> into an educational nonprofit that teaches horticultural skills to Oakland kids, particularly kids of color. Teaching them to grow their own food and empower themselves, he says, is his way of affirming that Black lives matter.\u003c/p>\n\u003cp>“After the marches happen, then what? After the slogans and the signs, then what? What is tangible? That’s the good thing about the pandemic, and everything that happened this year,” he says. “It made me think, what can I do?”\u003c/p>\n\u003ch2>Rexx Life Raj Forays into Cannabis and Real Estate\u003c/h2>\n\u003cp>Prior to the pandemic, Berkeley-raised artist \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> was unlocking the next level of his career as a rapper, songwriter and producer. He had a headlining tour under his belt, performed at taste-making festival Rolling Loud and collaborated with big names like Kehlani, Bas and Russ. 2020 was supposed to be even better: he was booked to play Outside Lands—a longtime goal of his—and was looking forward to his biggest year of touring yet. [aside postid='arts_13869513']\u003c/p>\n\u003cp>Since the pandemic had other plans, Raj had to make some quick switches. “For me, it wasn’t like I pivoted. Everything I’m doing is stuff I’ve been doing—and now I have time and energy to focus on it,” he says.\u003c/p>\n\u003cp>That meant getting his footing in two industries with high potential for growth: cannabis and real estate. Along with the release of his EP \u003cem>California Poppy 2\u003c/em> in late 2020, he developed a soon-to-be-released \u003ca href=\"https://www.californiapoppy.co/\" target=\"_blank\" rel=\"noopener noreferrer\">marijuana strain\u003c/a> of the same name with the help of friends from Humboldt company Permanent Holiday, who walked him through the proper permitting process and inner workings of the biz.\u003c/p>\n\u003cp>Though business-minded, Raj places a lot of importance on advocacy. He hopes to expand his cannabis business to include an incubator for other Black and brown entrepreneurs—especially those who, like him, come from communities impacted by mass incarceration and the War on Drugs. “I have a few homies who’ve been in jail for weed, and it’s crazy to me that there’s a whole sector of people who profit off the same crops,” he says. “My biggest thing with this weed strain is I’m going to build a platform and an infrastructure for POC to learn about the cannabis business.”\u003c/p>\n\u003cp>As for his real estate ventures, Raj is just getting started. He and a handful of friends from his alma mater, Boise State University, recently formed an LLC and are getting ready to pool their money to purchase their first investment property.\u003c/p>\n\u003cp>“My biggest thing has always been is, rap is my passion and I’m getting paid from it, but it’s also a vehicle to open other doors,” says Raj. “I learned that from playing football [in college].”\u003c/p>\n\u003cp>Even while keeping busy with these projects, Raj has remained focused on his music career. He’s part of the inaugural \u003ca href=\"https://www.youtube.com/watch?v=UcVcqURHZRA&ab_channel=YouTube\" target=\"_blank\" rel=\"noopener noreferrer\">#YouTubeBlackVoices\u003c/a> cohort, a new grant program that funds projects by up-and-coming Black creators. Since it was announced, he released a music video for “Bounty,” an incisive and witty commentary on trying to succeed in an unfair system.\u003c/p>\n\u003cp>https://youtu.be/L06_5kwLQFs\u003c/p>\n\u003cp>Speaking of which, giving back to the community has been a central focus of Raj over the past year. He got his hands dirty—literally—planting a community garden with the mutual aid collective \u003ca href=\"https://www.instagram.com/p/CGiykO8hqqL/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Programs\u003c/a>, and collaborated with sneaker company Finish Line to donate $20,000 to the arts organization \u003ca href=\"https://www.endeavors-oakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Endeavors Oakland\u003c/a> and youth nonprofit \u003ca href=\"https://www.fam1stfamilyfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fam 1st Family Foundation\u003c/a>. He also took on speaking engagements with UC Berkeley and the Oakland Unified School District.\u003c/p>\n\u003cp>“I think that’s always been something that was big in my heart, to find a way to give back,” says Raj, whose father was involved with the Black Panthers. “I always look at myself like I’m blessed. … In the pandemic things are going so well for me, but if you look out into the world it’s just crazy.”\u003c/p>\n\u003ch2>Salami Rose Joe Louis Learns to Score Films\u003c/h2>\n\u003cp>By day, Lindsay Olsen was a technician in a chemical oceanography lab. At night, she toiled away on her sci-fi-inspired brand of experimental, jazzy electronic pop. After years of playing in other people’s bands and performing her solo project at house shows, she went on to tour with \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a> and signed a three-album deal with Brainfeeder, Flying Lotus’ label, in 2019.\u003c/p>\n\u003cp>Newfound success was equal parts thrilling and challenging for Olsen, who performs as \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and with her improvisational outfit, the Science Band. “I’m such an introverted person and I felt like playing so many shows all the time the previous year—I really was exercising muscles that come really hard to me,” she says. [aside postid='arts_13864118']\u003c/p>\n\u003cp>She had plans to go on a West Coast tour and was booked for an ongoing weekly residency at \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>. But when the pandemic hit, she first found herself grateful for what she thought would be a temporary break from life on the road. But quickly, the reality set in that California’s shelter-in-place orders wouldn’t just last for a few weeks, as some of us had optimistically predicted.\u003c/p>\n\u003cp>Soon came the stress of soon-to-be-due bills. “I think as bandleader I felt a lot of responsibility, too, for being a portion of income for all these musicians I care about,” she says.\u003c/p>\n\u003cp>As the weeks went on and her savings account shrank, she began applying to freelance gigs to score commercials and short films. It felt like a natural fit: much of Olsen’s work as Salami Rose Joe Louis was quite cinematic already. In her albums, she’s told stories of humans surviving environmental collapses, traveling through interstellar portals and meeting otherworldly beings.\u003c/p>\n\u003cp>https://youtu.be/Kl7VlI3eUs4\u003c/p>\n\u003cp>After teaming up with a sound company in Los Angeles, Olsen composed soundtracks for several soon-to-be-released commercials. One of her scores appeared in Intersection for the Arts’ \u003cem>Loud Cinema\u003c/em> screening at Fort Mason Flix, which invited contemporary musicians to imagine new sounds for experimental short films from the 1920s, ’30s and ’40s.\u003c/p>\n\u003cp>Although she enjoys playing live, she says, “I think my happiest self is just at home making music.”\u003c/p>\n\u003cp>With film scoring, she discovered a new purpose. “This is what I want to do for a living,” she says, adding that her ultimate goal is to compose for feature-length films.\u003c/p>\n\u003cp>For her, film scoring presented an exciting new set of challenges. “How do you create the emotions? How do you tell the story?” she asks. “You just have so much power and responsibility making the music, because you’re really creating the mood.”\u003c/p>\n\u003cp>Olsen has also been using the extra downtime away from touring to learn new skills. She took an online mixing class with the Berkelee College of Music, and is currently taking piano lessons and learning clarinet. She misses her band, but she and her frequent collaborators \u003ca href=\"https://cheflee.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Eli Maliwan have stayed in close contact, sharing their solo work and offering each other feedback.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though Olsen doesn’t want the next stage of her career to consist entirely of touring, she did have one experience during the pandemic that reminded her of the magic of playing live. At the Good Faith Gallery in San Diego, she performed inside an art installation as one COVID pod at a time watched her from outside the building, through a rolled-up garage door. “It was so nice for play for people, and then they had a nice, private experience. I was like, ‘Oh man, there’s still ways to connect and play,’” she says. “You just have to do it for less people and be far away.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":2213,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":38},"modified":1705019432,"excerpt":"COVID-19 decimated the concert industry. Here's how three artists found creative ways to adapt. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"COVID-19 decimated the concert industry. Here's how three artists found creative ways to adapt. ","title":"How Fantastic Negrito, Rexx Life Raj and Salami Rose Joe Louis Pivoted from Touring | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Fantastic Negrito, Rexx Life Raj and Salami Rose Joe Louis Pivoted from Touring","datePublished":"2021-02-24T08:00:36-08:00","dateModified":"2024-01-11T16:30:32-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"how-rexx-life-raj-fantastic-negrito-and-salami-rose-joe-louis-pivoted-from-touring","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13893043/how-rexx-life-raj-fantastic-negrito-and-salami-rose-joe-louis-pivoted-from-touring","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In any successful musician’s career, there comes a time when they think to themselves, \u003cem>OK, maybe I could really do this\u003c/em>. Their day job starts to feel tedious after late nights of playing shows and recording in the studio, and slowly all that work begins to pay off with a growing fanbase and new opportunities.\u003c/p>\n\u003cp>After months—or years—of keeping up this juggling act, they finally take the plunge and decide to go into music full time. Then, of course, come more sacrifices. Streaming and album sales don’t earn much unless you’re über-famous. So for most artists, doing what they love professionally requires spending large parts of the year on tour.\u003c/p>\n\u003cp>But—cue record scratch—the pandemic upended that entire economy, and musicians have been essentially out of work for almost a year. While many are understandably struggling—creatively, financially and in terms of mental health—as the state of the world continues to resemble a dumpster fire, others have relished the opportunity to pause, recalibrate and find new directions. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890093","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To see how different artists are handling all these changes, I caught up with three Bay Area musicians who’ve taken different paths: Grammy-winning blues-rock singer Fantastic Negrito, rapper-producer Rexx Life Raj and Salami Rose Joe Louis bandleader Lindsay Olsen.\u003c/p>\n\u003ch2>Up for a Grammy, Fantastic Negrito Focuses on Urban Farming\u003c/h2>\n\u003cp>\u003ca href=\"https://fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fantastic Negrito\u003c/a>’s music career hasn’t followed what anyone would call a linear path. As a teenager in the ’90s, he ran away from home and landed a major \u003ca href=\"https://www.wired.com/2015/09/7-stories-about-fantastic-negrito/\" target=\"_blank\" rel=\"noopener noreferrer\">label deal at Interscope\u003c/a>, only to be dropped by them after he survived a debilitating car crash. He thought his music career was over, but he rediscovered his passion and started busking on the streets of Oakland in his 40s. Winning the \u003ca href=\"https://www.youtube.com/watch?v=ymYjwsFz8iM&ab_channel=NPRMusic\" target=\"_blank\" rel=\"noopener noreferrer\">NPR Tiny Desk contest\u003c/a> in 2015 brought him once again into the national spotlight. Fast forward to 2021, and he’s up for his third Grammy for his latest album, \u003cem>Have You Lost Your Mind Yet?\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My life has been rocked with challenges and obstacles all along the way since birth. It’s normal to have things to not go as planned,” says Fantastic Negrito when I ask about the past year.\u003c/p>\n\u003cp>That’s not to say handling them has been easy. He says he previously made about 80% of his income from live shows, and was getting ready to head on a tour across Europe, Asia and South America when shelter-in-place orders came down in the Bay Area and the concert industry effectively shut down.\u003c/p>\n\u003cp>“I woke up one morning like, ‘Hey, you don’t have any money coming in,’” he says. “I have mouths to feed—I have children, I have animals, I have it all.”\u003c/p>\n\u003cp>But instead of panicking, he steeled himself: “We have to rise to the challenge. I believe that, and I come from a long line of people who have done that.”\u003c/p>\n\u003cp>With touring canceled, Fantastic Negrito got online and revamped his merch store. He also began to craft a digital rollout strategy for \u003cem>Have You Lost Your Mind Yet?\u003c/em>, which came out in July. A crowdsourced video for the lead single, “Chocolate Samurai,” captured the stir-crazy mood of the first pandemic summer with footage of fellow musicians, friends and fans singing along inside their houses, looking slightly frazzled as they chase their children, work out to pass the time and tend to never-ending piles of dishes.\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/bolqbyi1VMQ'\n title='//www.youtube.com/embed/bolqbyi1VMQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I really got involved digitally with the album online because I knew people needed music and they’d be at home—so they needed even more music,” he says.\u003c/p>\n\u003cp>The approach worked. \u003cem>Have You Lost Your Mind Yet?\u003c/em> hit No. 1 on Billboard’s blues chart. And support came in other ways: a grant from \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a> and a gig at their virtual festival.\u003c/p>\n\u003cp>“They were one of the people who compensated their artists fairly,” Fantastic Negrito says, adding that he’s had to turn down numerous asks to perform for free.\u003c/p>\n\u003cp>Last month, Fantastic Negrito treated his U.S. fans to a virtual concert, and livestreams for his listeners in Europe and South America are also in the works. He’s also received commissions from the Oakland Roots soccer team and the local beer company Ale Industries, and flew to Atlanta to work on an undisclosed television project.\u003c/p>\n\u003cp>The time away from touring has also given him space to work on two ideas he’s had brewing for a while: his newly announced, genre-less independent record label, \u003ca href=\"https://www.storefrontrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Storefront Records\u003c/a>, which he started to develop artists who “do not want to be famous,” and Revolution Plantation, his urban farm. He hopes to expand \u003ca href=\"https://www.instagram.com/revolutionplantation/\" target=\"_blank\" rel=\"noopener noreferrer\">Revolution Plantation\u003c/a> into an educational nonprofit that teaches horticultural skills to Oakland kids, particularly kids of color. Teaching them to grow their own food and empower themselves, he says, is his way of affirming that Black lives matter.\u003c/p>\n\u003cp>“After the marches happen, then what? After the slogans and the signs, then what? What is tangible? That’s the good thing about the pandemic, and everything that happened this year,” he says. “It made me think, what can I do?”\u003c/p>\n\u003ch2>Rexx Life Raj Forays into Cannabis and Real Estate\u003c/h2>\n\u003cp>Prior to the pandemic, Berkeley-raised artist \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> was unlocking the next level of his career as a rapper, songwriter and producer. He had a headlining tour under his belt, performed at taste-making festival Rolling Loud and collaborated with big names like Kehlani, Bas and Russ. 2020 was supposed to be even better: he was booked to play Outside Lands—a longtime goal of his—and was looking forward to his biggest year of touring yet. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13869513","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the pandemic had other plans, Raj had to make some quick switches. “For me, it wasn’t like I pivoted. Everything I’m doing is stuff I’ve been doing—and now I have time and energy to focus on it,” he says.\u003c/p>\n\u003cp>That meant getting his footing in two industries with high potential for growth: cannabis and real estate. Along with the release of his EP \u003cem>California Poppy 2\u003c/em> in late 2020, he developed a soon-to-be-released \u003ca href=\"https://www.californiapoppy.co/\" target=\"_blank\" rel=\"noopener noreferrer\">marijuana strain\u003c/a> of the same name with the help of friends from Humboldt company Permanent Holiday, who walked him through the proper permitting process and inner workings of the biz.\u003c/p>\n\u003cp>Though business-minded, Raj places a lot of importance on advocacy. He hopes to expand his cannabis business to include an incubator for other Black and brown entrepreneurs—especially those who, like him, come from communities impacted by mass incarceration and the War on Drugs. “I have a few homies who’ve been in jail for weed, and it’s crazy to me that there’s a whole sector of people who profit off the same crops,” he says. “My biggest thing with this weed strain is I’m going to build a platform and an infrastructure for POC to learn about the cannabis business.”\u003c/p>\n\u003cp>As for his real estate ventures, Raj is just getting started. He and a handful of friends from his alma mater, Boise State University, recently formed an LLC and are getting ready to pool their money to purchase their first investment property.\u003c/p>\n\u003cp>“My biggest thing has always been is, rap is my passion and I’m getting paid from it, but it’s also a vehicle to open other doors,” says Raj. “I learned that from playing football [in college].”\u003c/p>\n\u003cp>Even while keeping busy with these projects, Raj has remained focused on his music career. He’s part of the inaugural \u003ca href=\"https://www.youtube.com/watch?v=UcVcqURHZRA&ab_channel=YouTube\" target=\"_blank\" rel=\"noopener noreferrer\">#YouTubeBlackVoices\u003c/a> cohort, a new grant program that funds projects by up-and-coming Black creators. Since it was announced, he released a music video for “Bounty,” an incisive and witty commentary on trying to succeed in an unfair system.\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/L06_5kwLQFs'\n title='//www.youtube.com/embed/L06_5kwLQFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking of which, giving back to the community has been a central focus of Raj over the past year. He got his hands dirty—literally—planting a community garden with the mutual aid collective \u003ca href=\"https://www.instagram.com/p/CGiykO8hqqL/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Programs\u003c/a>, and collaborated with sneaker company Finish Line to donate $20,000 to the arts organization \u003ca href=\"https://www.endeavors-oakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Endeavors Oakland\u003c/a> and youth nonprofit \u003ca href=\"https://www.fam1stfamilyfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fam 1st Family Foundation\u003c/a>. He also took on speaking engagements with UC Berkeley and the Oakland Unified School District.\u003c/p>\n\u003cp>“I think that’s always been something that was big in my heart, to find a way to give back,” says Raj, whose father was involved with the Black Panthers. “I always look at myself like I’m blessed. … In the pandemic things are going so well for me, but if you look out into the world it’s just crazy.”\u003c/p>\n\u003ch2>Salami Rose Joe Louis Learns to Score Films\u003c/h2>\n\u003cp>By day, Lindsay Olsen was a technician in a chemical oceanography lab. At night, she toiled away on her sci-fi-inspired brand of experimental, jazzy electronic pop. After years of playing in other people’s bands and performing her solo project at house shows, she went on to tour with \u003ca href=\"https://www.kqed.org/arts/13848868/tory-y-moi-is-the-most-regular-famous-person-youll-ever-meet\" target=\"_blank\" rel=\"noopener noreferrer\">Toro y Moi\u003c/a> and signed a three-album deal with Brainfeeder, Flying Lotus’ label, in 2019.\u003c/p>\n\u003cp>Newfound success was equal parts thrilling and challenging for Olsen, who performs as \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and with her improvisational outfit, the Science Band. “I’m such an introverted person and I felt like playing so many shows all the time the previous year—I really was exercising muscles that come really hard to me,” she says. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13864118","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She had plans to go on a West Coast tour and was booked for an ongoing weekly residency at \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>. But when the pandemic hit, she first found herself grateful for what she thought would be a temporary break from life on the road. But quickly, the reality set in that California’s shelter-in-place orders wouldn’t just last for a few weeks, as some of us had optimistically predicted.\u003c/p>\n\u003cp>Soon came the stress of soon-to-be-due bills. “I think as bandleader I felt a lot of responsibility, too, for being a portion of income for all these musicians I care about,” she says.\u003c/p>\n\u003cp>As the weeks went on and her savings account shrank, she began applying to freelance gigs to score commercials and short films. It felt like a natural fit: much of Olsen’s work as Salami Rose Joe Louis was quite cinematic already. In her albums, she’s told stories of humans surviving environmental collapses, traveling through interstellar portals and meeting otherworldly beings.\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/Kl7VlI3eUs4'\n title='//www.youtube.com/embed/Kl7VlI3eUs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After teaming up with a sound company in Los Angeles, Olsen composed soundtracks for several soon-to-be-released commercials. One of her scores appeared in Intersection for the Arts’ \u003cem>Loud Cinema\u003c/em> screening at Fort Mason Flix, which invited contemporary musicians to imagine new sounds for experimental short films from the 1920s, ’30s and ’40s.\u003c/p>\n\u003cp>Although she enjoys playing live, she says, “I think my happiest self is just at home making music.”\u003c/p>\n\u003cp>With film scoring, she discovered a new purpose. “This is what I want to do for a living,” she says, adding that her ultimate goal is to compose for feature-length films.\u003c/p>\n\u003cp>For her, film scoring presented an exciting new set of challenges. “How do you create the emotions? How do you tell the story?” she asks. “You just have so much power and responsibility making the music, because you’re really creating the mood.”\u003c/p>\n\u003cp>Olsen has also been using the extra downtime away from touring to learn new skills. She took an online mixing class with the Berkelee College of Music, and is currently taking piano lessons and learning clarinet. She misses her band, but she and her frequent collaborators \u003ca href=\"https://cheflee.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cheflee\u003c/a> and Eli Maliwan have stayed in close contact, sharing their solo work and offering each other feedback.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though Olsen doesn’t want the next stage of her career to consist entirely of touring, she did have one experience during the pandemic that reminded her of the magic of playing live. At the Good Faith Gallery in San Diego, she performed inside an art installation as one COVID pod at a time watched her from outside the building, through a rolled-up garage door. “It was so nice for play for people, and then they had a nice, private experience. I was like, ‘Oh man, there’s still ways to connect and play,’” she says. “You just have to do it for less people and be far away.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13893043/how-rexx-life-raj-fantastic-negrito-and-salami-rose-joe-louis-pivoted-from-touring","authors":["11387"],"series":["arts_4525"],"categories":["arts_1"],"tags":["arts_10342","arts_1588","arts_10278","arts_1420","arts_1983","arts_4213","arts_10648"],"featImg":"arts_13893202","label":"arts_4525"},"arts_13886404":{"type":"posts","id":"arts_13886404","meta":{"index":"posts_1716263798","site":"arts","id":"13886404","score":null,"sort":[1600285659000]},"parent":0,"labelTerm":{"site":"arts","term":4525},"blocks":[],"publishDate":1600285659,"format":"image","title":"Tacos Oscar is Staying Afloat During the Pandemic By Taking Their Time","headTitle":"Tacos Oscar is Staying Afloat During the Pandemic By Taking Their Time | KQED","content":"\u003cp>Tacos Oscar was quick to close and slow to reopen.\u003c/p>\n\u003cp>In mid-March, as the reality of the pandemic set in, Oscar Michel and Jake Weiss closed their \u003ca href=\"http://www.tacososcar.com/\" target=\"_blank\" rel=\"noopener noreferrer\">popular restaurant\u003c/a>, running out of three smartly arranged storage containers on 40th Street near Broadway in Oakland. They opted out of take-out service as well, hitting pause for over three months on the house-pressed tortillas and imaginative fillings that have garnered the eatery fans across the Bay Area.\u003c/p>\n\u003cp>[pullquote align='right' size='small']\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Rent: About $3,000/month (reduced by $1,000 during closure)\u003c/li>\n\u003cli>Gift card sales: $9,000\u003c/li>\n\u003cli>Co-owners’ take-home: $3,000/month each\u003c/li>\n\u003cli>Unused federal loans: $100,000\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]“It was a very personal decision. We were freaked out by the pandemic and the chance of getting sick,” Michel explains, adding that their efficient and cozy quarters would make social distancing impossible for staff. Until the restaurant reopened with limited hours in late June, Michel lists off the creative ways the duo kept themselves busy—and their business afloat.\u003c/p>\n\u003cp>They sold gift cards wrapped in hand-drawn, colorful old menus. They hawked “Tacos Oscar Stalker” T-shirts. Eventually, they applied for federal aid and grants. And along the way, the worker-owner duo managed to raise money in support of local efforts: against police brutality and to counterbalance the pandemic’s uneven distribution of infections and deaths.\u003c/p>\n\u003cp>Tacos Oscar’s internet fame helped promote their gift cards and T-shirts; the restaurant’s \u003ca href=\"https://www.instagram.com/tacososcar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram account\u003c/a> has nearly 12,000 followers, a fan-base cultivated when it was still a pop-up, hopping around town between different kitchens. Proceeds from merch sales, screen printed by Michel on thrifted shirts and sweatshirts, supported their staff, some of whom weren’t able to get on unemployment.\u003c/p>\n\u003cfigure id=\"attachment_13886413\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michel scrolls the Tacos Oscar hand-drawn flyer archive on his phone. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taking orders, making T-shirts and mailing everything out kept Michel busy. “Then George Floyd was murdered,” he recalls. “And all of a sudden a pandemic wasn’t just a pandemic anymore.” For the second round of T-shirt sales, Michel proposed half of the profits go to \u003ca href=\"https://www.kqed.org/bayareabites/137476/for-peoples-breakfast-black-liberation-food-access-and-bail-funds-intersect\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Breakfast Oakland\u003c/a>, a food and resource distribution organization focusing on the unhoused population in West Oakland. Those sales totaled $14,000, $4,000 of which went to People’s Breakfast. The restaurant has since done fundraisers for the \u003ca href=\"http://streetlevelhealthproject.org/\">Street Level Health Project\u003c/a> and the \u003ca href=\"http://blackorganizingproject.org/\">Black Organizing Project\u003c/a>.\u003c/p>\n\u003cp>The gift cards brought in around $9,000 in just two weeks time. “It’s like the best loan you could ever get ever anywhere on the planet,” Michel explains. “We got a $9,000, zero percent interest loan.”\u003c/p>\n\u003cp>He said customers are finally coming in and using their gift cards but he expects some will go unused. That money helped Weiss and Michel cover overhead costs like rent and workers comp while they were closed. Their landlord also gave them a rent break. “We didn’t even ask but he was like, ‘Hey I’m going to shave $1,000 off your rent,’” Michel said, bringing that expense down to around $2,000.\u003c/p>\n\u003cfigure id=\"attachment_13886415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Co-owners Jake Weiss and Oscar Michel in Tacos Oscar’s currently closed outdoor patio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most remarkable cut Weiss and Michel made to keep Tacos Oscar afloat was slashing their own pay at the start of shelter in place. “We pay ourselves $1,500 every two weeks,” Michel explains. “We could be taking more. But why? [We] don’t need that much money.” In the past, before the pandemic and the restaurant’s busy summer months, the two took home double their current salary. In less busy months, they paid themselves around $2,500 every two weeks. Their current salary is closer to their opening salaries in 2018.\u003c/p>\n\u003cp>That conservative approach allowed Tacos Oscar to pay back their opening costs in the first year as a brick-and-mortar restaurant—an anomaly in an industry that operates on slim margins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Currently, aside from Weiss and Michel, Tacos Oscar employs six people, well less than half their usual staff numbers. (Before the pandemic, they had between 19 and 22 employees.) But despite the personnel reduction and limited hours, the restaurant is managing to turn a profit.\u003c/p>\n\u003cp>“Our labor is super low. That’s why we’re doing okay,” Michel explains, adding that he and Weiss have taken on the lion’s share of the workload. A smaller staff size, he said, also minimizes exposure risk and builds a smaller pod of work buddies. “We trust each other and we have this kind of unwritten contract,” Michel said of the precautions he and the Tacos Oscar staff observe outside of the restaurant.\u003c/p>\n\u003cfigure id=\"attachment_13886414\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886414\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kitchen staff in the converted container that serves as Tacos Oscar’s kitchen. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The benefits that come with maintaining a small staff are unfortunately incongruent with the expectations of federal aid programs like the Paycheck Protection Program. The business loan program, from which Michel and Weiss received $50,000, requires businesses hire back to pre-pandemic levels.\u003c/p>\n\u003cp>“[It] is impossible for us,” Michel said. “We can’t have that many people working because there’s no need for that many people.” Tacos Oscar’s charming patio has remained closed during their re-opening and though there’s plans for a parklet that would allow for distanced outdoor dining, Michel isn’t in any rush. “[We] don’t want to have crowds of people hanging around and we don’t want to have our staff wearing hazard suits to go out and wipe somebody’s table down.”\u003c/p>\n\u003cp>On top of the PPP loan, Tacos Oscar also applied for an Economic Injury Disaster Loan and received a $150,000 loan offer. “We’re like, that’s ridiculous. There’s no need for that much money for us. So we took a third of that,” says Michel.\u003c/p>\n\u003cfigure id=\"attachment_13886416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tacos Oscar’s quesadilla, with tacos in the background. \u003ccite>(Graham Holock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and Weiss accepted the loan on the council of friends who warned that fall and winter might bring more health restrictions and financial strain. For now, the business hasn’t touched either the PPP or the EIDL funds. They plan to apply for forgiveness for a portion of the PPP loan which they can put towards rent and utilities. (“I just stopped reading,” Michel says of the \u003ca href=\"https://www.restaurantdive.com/news/recent-ppp-changes-offer-restaurants-hope-but-calls-for-industry-aid-conti/580431/\" target=\"_blank\" rel=\"noopener noreferrer\">shifting forgiveness terms\u003c/a> of the federal loan that’s sent businesses scrambling. “It changes every fucking week. Nobody knows what the fuck’s going on.”)\u003c/p>\n\u003cp>[aside postID='bayareabites_137476,bayareabites_137514,bayareabites_138686' label='More from Food']\u003cbr>\nThough many of their survival tactics rely on scrappy hard work, Weiss and Michel also received a surprise windfall the restaurant won a lottery for a $10,000 grant from TMC Capital, a digital microlending organization. “Completely bonkers,” said Michel. “I got an email one morning. I thought it was spam. I was about to delete it.” That money will go towards improvements at the restaurant—for instance, building out a parklet when they decide to branch into outdoor dining.\u003c/p>\n\u003cp>As many restaurants face the multiplying threats of the pandemic, including shrinking profits and potential evictions, Tacos Oscar is unique in their solid footing. When he talks about his work at the restaurant, Michel evinces a palpable sense of duty. To his customers—providing them with healthy, affordable food—but also to his staff.\u003c/p>\n\u003cp>“I’m not just Oscar, the individual dude who played in bands and did this and did that,” he says. “Now I’m Oscar, the business owner who people rely on for their living. And so I have to take care of people.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1368,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":22},"modified":1705020123,"excerpt":"The popular Oakland restaurant weathered three months of closure, but is in no rush to welcome back crowds of diners.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The popular Oakland restaurant weathered three months of closure, but is in no rush to welcome back crowds of diners.","title":"Tacos Oscar is Staying Afloat During the Pandemic By Taking Their Time | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tacos Oscar is Staying Afloat During the Pandemic By Taking Their Time","datePublished":"2020-09-16T12:47:39-07:00","dateModified":"2024-01-11T16:42:03-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"tacos-oscar-is-staying-afloat-during-the-pandemic-by-taking-their-time","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13886404/tacos-oscar-is-staying-afloat-during-the-pandemic-by-taking-their-time","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tacos Oscar was quick to close and slow to reopen.\u003c/p>\n\u003cp>In mid-March, as the reality of the pandemic set in, Oscar Michel and Jake Weiss closed their \u003ca href=\"http://www.tacososcar.com/\" target=\"_blank\" rel=\"noopener noreferrer\">popular restaurant\u003c/a>, running out of three smartly arranged storage containers on 40th Street near Broadway in Oakland. They opted out of take-out service as well, hitting pause for over three months on the house-pressed tortillas and imaginative fillings that have garnered the eatery fans across the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Rent: About $3,000/month (reduced by $1,000 during closure)\u003c/li>\n\u003cli>Gift card sales: $9,000\u003c/li>\n\u003cli>Co-owners’ take-home: $3,000/month each\u003c/li>\n\u003cli>Unused federal loans: $100,000\u003c/li>\n\u003c/ul>\n\u003cp>","name":"pullquote","attributes":{"named":{"align":"right","size":"small","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It was a very personal decision. We were freaked out by the pandemic and the chance of getting sick,” Michel explains, adding that their efficient and cozy quarters would make social distancing impossible for staff. Until the restaurant reopened with limited hours in late June, Michel lists off the creative ways the duo kept themselves busy—and their business afloat.\u003c/p>\n\u003cp>They sold gift cards wrapped in hand-drawn, colorful old menus. They hawked “Tacos Oscar Stalker” T-shirts. Eventually, they applied for federal aid and grants. And along the way, the worker-owner duo managed to raise money in support of local efforts: against police brutality and to counterbalance the pandemic’s uneven distribution of infections and deaths.\u003c/p>\n\u003cp>Tacos Oscar’s internet fame helped promote their gift cards and T-shirts; the restaurant’s \u003ca href=\"https://www.instagram.com/tacososcar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram account\u003c/a> has nearly 12,000 followers, a fan-base cultivated when it was still a pop-up, hopping around town between different kitchens. Proceeds from merch sales, screen printed by Michel on thrifted shirts and sweatshirts, supported their staff, some of whom weren’t able to get on unemployment.\u003c/p>\n\u003cfigure id=\"attachment_13886413\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_13_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michel scrolls the Tacos Oscar hand-drawn flyer archive on his phone. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taking orders, making T-shirts and mailing everything out kept Michel busy. “Then George Floyd was murdered,” he recalls. “And all of a sudden a pandemic wasn’t just a pandemic anymore.” For the second round of T-shirt sales, Michel proposed half of the profits go to \u003ca href=\"https://www.kqed.org/bayareabites/137476/for-peoples-breakfast-black-liberation-food-access-and-bail-funds-intersect\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Breakfast Oakland\u003c/a>, a food and resource distribution organization focusing on the unhoused population in West Oakland. Those sales totaled $14,000, $4,000 of which went to People’s Breakfast. The restaurant has since done fundraisers for the \u003ca href=\"http://streetlevelhealthproject.org/\">Street Level Health Project\u003c/a> and the \u003ca href=\"http://blackorganizingproject.org/\">Black Organizing Project\u003c/a>.\u003c/p>\n\u003cp>The gift cards brought in around $9,000 in just two weeks time. “It’s like the best loan you could ever get ever anywhere on the planet,” Michel explains. “We got a $9,000, zero percent interest loan.”\u003c/p>\n\u003cp>He said customers are finally coming in and using their gift cards but he expects some will go unused. That money helped Weiss and Michel cover overhead costs like rent and workers comp while they were closed. Their landlord also gave them a rent break. “We didn’t even ask but he was like, ‘Hey I’m going to shave $1,000 off your rent,’” Michel said, bringing that expense down to around $2,000.\u003c/p>\n\u003cfigure id=\"attachment_13886415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_23_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Co-owners Jake Weiss and Oscar Michel in Tacos Oscar’s currently closed outdoor patio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the most remarkable cut Weiss and Michel made to keep Tacos Oscar afloat was slashing their own pay at the start of shelter in place. “We pay ourselves $1,500 every two weeks,” Michel explains. “We could be taking more. But why? [We] don’t need that much money.” In the past, before the pandemic and the restaurant’s busy summer months, the two took home double their current salary. In less busy months, they paid themselves around $2,500 every two weeks. Their current salary is closer to their opening salaries in 2018.\u003c/p>\n\u003cp>That conservative approach allowed Tacos Oscar to pay back their opening costs in the first year as a brick-and-mortar restaurant—an anomaly in an industry that operates on slim margins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Currently, aside from Weiss and Michel, Tacos Oscar employs six people, well less than half their usual staff numbers. (Before the pandemic, they had between 19 and 22 employees.) But despite the personnel reduction and limited hours, the restaurant is managing to turn a profit.\u003c/p>\n\u003cp>“Our labor is super low. That’s why we’re doing okay,” Michel explains, adding that he and Weiss have taken on the lion’s share of the workload. A smaller staff size, he said, also minimizes exposure risk and builds a smaller pod of work buddies. “We trust each other and we have this kind of unwritten contract,” Michel said of the precautions he and the Tacos Oscar staff observe outside of the restaurant.\u003c/p>\n\u003cfigure id=\"attachment_13886414\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886414\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_15_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kitchen staff in the converted container that serves as Tacos Oscar’s kitchen. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The benefits that come with maintaining a small staff are unfortunately incongruent with the expectations of federal aid programs like the Paycheck Protection Program. The business loan program, from which Michel and Weiss received $50,000, requires businesses hire back to pre-pandemic levels.\u003c/p>\n\u003cp>“[It] is impossible for us,” Michel said. “We can’t have that many people working because there’s no need for that many people.” Tacos Oscar’s charming patio has remained closed during their re-opening and though there’s plans for a parklet that would allow for distanced outdoor dining, Michel isn’t in any rush. “[We] don’t want to have crowds of people hanging around and we don’t want to have our staff wearing hazard suits to go out and wipe somebody’s table down.”\u003c/p>\n\u003cp>On top of the PPP loan, Tacos Oscar also applied for an Economic Injury Disaster Loan and received a $150,000 loan offer. “We’re like, that’s ridiculous. There’s no need for that much money for us. So we took a third of that,” says Michel.\u003c/p>\n\u003cfigure id=\"attachment_13886416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886416\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/KQED_The_Hustle_Tacos_Oscar_web_28_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tacos Oscar’s quesadilla, with tacos in the background. \u003ccite>(Graham Holock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and Weiss accepted the loan on the council of friends who warned that fall and winter might bring more health restrictions and financial strain. For now, the business hasn’t touched either the PPP or the EIDL funds. They plan to apply for forgiveness for a portion of the PPP loan which they can put towards rent and utilities. (“I just stopped reading,” Michel says of the \u003ca href=\"https://www.restaurantdive.com/news/recent-ppp-changes-offer-restaurants-hope-but-calls-for-industry-aid-conti/580431/\" target=\"_blank\" rel=\"noopener noreferrer\">shifting forgiveness terms\u003c/a> of the federal loan that’s sent businesses scrambling. “It changes every fucking week. Nobody knows what the fuck’s going on.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"bayareabites_137476,bayareabites_137514,bayareabites_138686","label":"More from Food "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nThough many of their survival tactics rely on scrappy hard work, Weiss and Michel also received a surprise windfall the restaurant won a lottery for a $10,000 grant from TMC Capital, a digital microlending organization. “Completely bonkers,” said Michel. “I got an email one morning. I thought it was spam. I was about to delete it.” That money will go towards improvements at the restaurant—for instance, building out a parklet when they decide to branch into outdoor dining.\u003c/p>\n\u003cp>As many restaurants face the multiplying threats of the pandemic, including shrinking profits and potential evictions, Tacos Oscar is unique in their solid footing. When he talks about his work at the restaurant, Michel evinces a palpable sense of duty. To his customers—providing them with healthy, affordable food—but also to his staff.\u003c/p>\n\u003cp>“I’m not just Oscar, the individual dude who played in bands and did this and did that,” he says. “Now I’m Oscar, the business owner who people rely on for their living. And so I have to take care of people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13886404/tacos-oscar-is-staying-afloat-during-the-pandemic-by-taking-their-time","authors":["11625"],"series":["arts_4525"],"categories":["arts_1","arts_835"],"tags":["arts_10278","arts_1297","arts_4213","arts_10648"],"featImg":"arts_13886412","label":"arts_4525"},"arts_13883181":{"type":"posts","id":"arts_13883181","meta":{"index":"posts_1716263798","site":"arts","id":"13883181","score":null,"sort":[1594849208000]},"parent":0,"labelTerm":{"site":"arts","term":4525},"blocks":[],"publishDate":1594849208,"format":"standard","title":"Cash Monet Sashays from Drag Clubs to Twitch Streams","headTitle":"Cash Monet Sashays from Drag Clubs to Twitch Streams | KQED","content":"\u003cp>June is typically the month drag performers are booked and busy, lip-syncing at clubs, emceeing patio parties, raising money for LGBTQ+ organizations and strutting their stuff on the Pride stage.\u003c/p>\n\u003cp>But this year, those rituals were completely upended. During the last weekend of June, San Francisco Pride took place online. The city’s gay bars, typically alight with events all month, sat quietly boarded up—most notably its oldest one, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>. (Its owners decided to cut their losses and reopen in a new location when the pandemic ends.)\u003c/p>\n\u003cp>[pullquote align='right' size='small']\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Rent: $1,200/month\u003c/li>\n\u003cli>Typical Pride earnings: $5,000\u003c/li>\n\u003cli>2020 Pride earnings: $2,000\u003c/li>\n\u003cli>Average household earnings from Twitch: $200/month plus tips\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]Like many drag performers in San Francisco, \u003ca href=\"https://www.instagram.com/cashmonetdrag/\" target=\"_blank\" rel=\"noopener noreferrer\">Cash Monet\u003c/a>, the stage name of Patrick Santos, has found herself facing a sizable drop in income since the Bay Area started sheltering in place.\u003c/p>\n\u003cp>“It was a little different this year. There were no Pride gigs. And the one Pride gig I got paid for was the first time in a long time I paid for my own costumes and wigs,” she says, adding that her earnings from Pride month ended up at around $2,000 after subtracting the $1,000 she spent on new looks. In a typical year, she’d pocket $5,000—enough to cover several months of rent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A lot has changed for Monet since March. Pre-pandemic, a typical week consisted of work at her day job as the social media manager for \u003ca href=\"https://www.instagram.com/rockmsakura/\" target=\"_blank\" rel=\"noopener noreferrer\">Rock M. Sakura\u003c/a>, Monet’s friend and a contestant on the latest season of \u003ca href=\"http://www.vh1.com/shows/rupauls-drag-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>RuPaul’s Drag Race\u003c/em>\u003c/a>. Monet would go to Sakura’s place to shoot and edit content for her popular Instagram account and YouTube channel. But after the Bay Area announced its shelter-in-place orders, visiting Sakura every day was no longer an option. (They’ve since resumed working together but with a modified schedule to minimize in-person contact.)\u003c/p>\n\u003cfigure id=\"attachment_13883402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco drag performer Cash Monet has had to get creative with streaming while club gigs are canceled during the pandemic. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On nights and weekends, Monet filled her time with club gigs at places like Moby Dick, where she threw a cosplay drag party, Pastel Gore (her minimum rate for a club appearance was $100). She also taught a biweekly K-pop dance class, \u003ca href=\"https://www.instagram.com/kpopup.sf/\" target=\"_blank\" rel=\"noopener noreferrer\">K-Pop Up\u003c/a> at Levy Studio, which usually brought in an extra $200 a week.\u003c/p>\n\u003cp>After shelter in place began, gigs disappeared overnight for Monet and her two housemates, the drag performers \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Vice\u003c/a> and God’s Little Princess. “All of our money came in through the bars,” Monet says. “It was really scary because that was all of our income.”\u003c/p>\n\u003cp>Already accustomed to sharing wigs and other resources, the trio got creative. Video games, anime and nerd culture are big inspirations for Monet’s candy-colored style of drag. She already had an account on the streaming site \u003ca href=\"https://www.twitch.tv/cashmonetdrag\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a>, popular among gamers and a newly important platform for the drag community during the pandemic. The roommates teamed up to create a lineup of virtual programming, curating a calendar of in-home, livestreamed drag shows, video-game streams (\u003cem>Spongebob Squarepants: Battle for Bikini Bottom\u003c/em> has been a favorite), drag makeup and video editing tutorials and even interviews with public figures like congressional hopeful \u003ca href=\"https://www.twitch.tv/videos/655788884?filter=archives&sort=time\" target=\"_blank\" rel=\"noopener noreferrer\">Shahid Buttar\u003c/a>, the Democratic Socialist running to unseat Nancy Pelosi in the 2020 election.\u003c/p>\n\u003cfigure id=\"attachment_13883366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Monet’s room is where she performs, streams video editing and makeup tutorials and creates social media content for Rock M. Sakura. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the get-go, the crew’s approach to livestreaming has been playful and tongue-in-cheek. “Our first stream was called ‘Watch Mary Paint,’ and it was supposed to be a play on ‘Watch Mary Paint Her Face,’” says Monet, adding that the audience expected a drag makeup tutorial. “But it was literally, watch Mary Vice paint her room purple.”\u003c/p>\n\u003cp>The Twitch channel has over 1,800 subscribers, and about 100 of them pay at least $4.99 a month. But after the platform takes its cut, the three performers only take home a collective $200 a month. Fortunately, viewers often tip via Venmo, especially during the Monday night drag show, which brings in an average of $50 in tips per person every week. Though her take-home pay from the channel hasn’t been huge, Monet has hosted several streams for good causes, raising hundreds of dollars for Black Lives Matter protesters’ bail funds, \u003ca href=\"https://www.translifeline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Trans Lifeline\u003c/a> and the \u003ca href=\"https://marshap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Marsha P. Johnson Institute\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13883367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Home is now the club for drag performers like Monet, who put on shows and get tipped virtually while sheltering in place. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monet says streaming on Twitch often requires her to think on her feet and multitask—not unlike running her own show at a club. “Drag performers and producers have to be a jack of all trades because not only are you performing in drag, but you have be a video editor, videographer and maybe you have to do lighting and sound editing on top of that,” she says. “If you’re performing at a show, people don’t realize you’re stage managing, lighting directing, music mixing. Is it good? \u003cem>Eh\u003c/em>, questionable. But I’m making it work.”\u003c/p>\n\u003cp>Modesty aside, others are clearly taking note of Monet’s streaming savvy. For Pride, the \u003ca href=\"https://www.culturalpower.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Power\u003c/a> contracted her to produce their drag show, which required her to be the web master, virtual stage manager and emcee all at once. “It felt like I was back in an actual job because I had meetings and Google docs,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13883369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Much like running a show at a club, Twitch streams require Cash Monet to be a jack of all trades. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Monet has been working hard to continue doing drag in the digital space, the combined earnings of all her projects add up to little more than her rent, which is $1,200 a month. Social media managing for Sakura, which pays about $700–$1,000 a month, is a big chunk of that. Unfortunately, she hasn’t been able to get unemployment benefits because so much of her work prior to the pandemic wasn’t formally documented. But she did receive two COVID-relief artist grants of $500 each.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Despite the uncertainty, Monet remains undeterred, and encourages other performing artists to experiment with ways to continue their craft in the era of social distancing—even if it’s a bit glitchy at first. “The more you do something, the more you learn,” she says. “If you make a mistake on your stream and the microphone wasn’t working and it looks bad, use that as part of your learning process.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1185,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":17},"modified":1705020426,"excerpt":"When her income drastically dropped during shelter in place, the artist had to master new skills to make a living.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"When her income drastically dropped during shelter in place, the artist had to master new skills to make a living.","title":"Cash Monet Sashays from Drag Clubs to Twitch Streams | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Cash Monet Sashays from Drag Clubs to Twitch Streams","datePublished":"2020-07-15T14:40:08-07:00","dateModified":"2024-01-11T16:47:06-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"cash-monet-sashays-from-drag-clubs-to-twitch-streams","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13883181/cash-monet-sashays-from-drag-clubs-to-twitch-streams","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>June is typically the month drag performers are booked and busy, lip-syncing at clubs, emceeing patio parties, raising money for LGBTQ+ organizations and strutting their stuff on the Pride stage.\u003c/p>\n\u003cp>But this year, those rituals were completely upended. During the last weekend of June, San Francisco Pride took place online. The city’s gay bars, typically alight with events all month, sat quietly boarded up—most notably its oldest one, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>. (Its owners decided to cut their losses and reopen in a new location when the pandemic ends.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Rent: $1,200/month\u003c/li>\n\u003cli>Typical Pride earnings: $5,000\u003c/li>\n\u003cli>2020 Pride earnings: $2,000\u003c/li>\n\u003cli>Average household earnings from Twitch: $200/month plus tips\u003c/li>\n\u003c/ul>\n\u003cp>","name":"pullquote","attributes":{"named":{"align":"right","size":"small","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Like many drag performers in San Francisco, \u003ca href=\"https://www.instagram.com/cashmonetdrag/\" target=\"_blank\" rel=\"noopener noreferrer\">Cash Monet\u003c/a>, the stage name of Patrick Santos, has found herself facing a sizable drop in income since the Bay Area started sheltering in place.\u003c/p>\n\u003cp>“It was a little different this year. There were no Pride gigs. And the one Pride gig I got paid for was the first time in a long time I paid for my own costumes and wigs,” she says, adding that her earnings from Pride month ended up at around $2,000 after subtracting the $1,000 she spent on new looks. In a typical year, she’d pocket $5,000—enough to cover several months of rent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A lot has changed for Monet since March. Pre-pandemic, a typical week consisted of work at her day job as the social media manager for \u003ca href=\"https://www.instagram.com/rockmsakura/\" target=\"_blank\" rel=\"noopener noreferrer\">Rock M. Sakura\u003c/a>, Monet’s friend and a contestant on the latest season of \u003ca href=\"http://www.vh1.com/shows/rupauls-drag-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>RuPaul’s Drag Race\u003c/em>\u003c/a>. Monet would go to Sakura’s place to shoot and edit content for her popular Instagram account and YouTube channel. But after the Bay Area announced its shelter-in-place orders, visiting Sakura every day was no longer an option. (They’ve since resumed working together but with a modified schedule to minimize in-person contact.)\u003c/p>\n\u003cfigure id=\"attachment_13883402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__hires_21_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco drag performer Cash Monet has had to get creative with streaming while club gigs are canceled during the pandemic. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On nights and weekends, Monet filled her time with club gigs at places like Moby Dick, where she threw a cosplay drag party, Pastel Gore (her minimum rate for a club appearance was $100). She also taught a biweekly K-pop dance class, \u003ca href=\"https://www.instagram.com/kpopup.sf/\" target=\"_blank\" rel=\"noopener noreferrer\">K-Pop Up\u003c/a> at Levy Studio, which usually brought in an extra $200 a week.\u003c/p>\n\u003cp>After shelter in place began, gigs disappeared overnight for Monet and her two housemates, the drag performers \u003ca href=\"https://www.instagram.com/itsmaryvice/\" target=\"_blank\" rel=\"noopener noreferrer\">Mary Vice\u003c/a> and God’s Little Princess. “All of our money came in through the bars,” Monet says. “It was really scary because that was all of our income.”\u003c/p>\n\u003cp>Already accustomed to sharing wigs and other resources, the trio got creative. Video games, anime and nerd culture are big inspirations for Monet’s candy-colored style of drag. She already had an account on the streaming site \u003ca href=\"https://www.twitch.tv/cashmonetdrag\" target=\"_blank\" rel=\"noopener noreferrer\">Twitch\u003c/a>, popular among gamers and a newly important platform for the drag community during the pandemic. The roommates teamed up to create a lineup of virtual programming, curating a calendar of in-home, livestreamed drag shows, video-game streams (\u003cem>Spongebob Squarepants: Battle for Bikini Bottom\u003c/em> has been a favorite), drag makeup and video editing tutorials and even interviews with public figures like congressional hopeful \u003ca href=\"https://www.twitch.tv/videos/655788884?filter=archives&sort=time\" target=\"_blank\" rel=\"noopener noreferrer\">Shahid Buttar\u003c/a>, the Democratic Socialist running to unseat Nancy Pelosi in the 2020 election.\u003c/p>\n\u003cfigure id=\"attachment_13883366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_17.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cash Monet’s room is where she performs, streams video editing and makeup tutorials and creates social media content for Rock M. Sakura. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the get-go, the crew’s approach to livestreaming has been playful and tongue-in-cheek. “Our first stream was called ‘Watch Mary Paint,’ and it was supposed to be a play on ‘Watch Mary Paint Her Face,’” says Monet, adding that the audience expected a drag makeup tutorial. “But it was literally, watch Mary Vice paint her room purple.”\u003c/p>\n\u003cp>The Twitch channel has over 1,800 subscribers, and about 100 of them pay at least $4.99 a month. But after the platform takes its cut, the three performers only take home a collective $200 a month. Fortunately, viewers often tip via Venmo, especially during the Monday night drag show, which brings in an average of $50 in tips per person every week. Though her take-home pay from the channel hasn’t been huge, Monet has hosted several streams for good causes, raising hundreds of dollars for Black Lives Matter protesters’ bail funds, \u003ca href=\"https://www.translifeline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Trans Lifeline\u003c/a> and the \u003ca href=\"https://marshap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Marsha P. Johnson Institute\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13883367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_28.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Home is now the club for drag performers like Monet, who put on shows and get tipped virtually while sheltering in place. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monet says streaming on Twitch often requires her to think on her feet and multitask—not unlike running her own show at a club. “Drag performers and producers have to be a jack of all trades because not only are you performing in drag, but you have be a video editor, videographer and maybe you have to do lighting and sound editing on top of that,” she says. “If you’re performing at a show, people don’t realize you’re stage managing, lighting directing, music mixing. Is it good? \u003cem>Eh\u003c/em>, questionable. But I’m making it work.”\u003c/p>\n\u003cp>Modesty aside, others are clearly taking note of Monet’s streaming savvy. For Pride, the \u003ca href=\"https://www.culturalpower.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Power\u003c/a> contracted her to produce their drag show, which required her to be the web master, virtual stage manager and emcee all at once. “It felt like I was back in an actual job because I had meetings and Google docs,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13883369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/KQED_Cash_Monet__web_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Much like running a show at a club, Twitch streams require Cash Monet to be a jack of all trades. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Monet has been working hard to continue doing drag in the digital space, the combined earnings of all her projects add up to little more than her rent, which is $1,200 a month. Social media managing for Sakura, which pays about $700–$1,000 a month, is a big chunk of that. Unfortunately, she hasn’t been able to get unemployment benefits because so much of her work prior to the pandemic wasn’t formally documented. But she did receive two COVID-relief artist grants of $500 each.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the uncertainty, Monet remains undeterred, and encourages other performing artists to experiment with ways to continue their craft in the era of social distancing—even if it’s a bit glitchy at first. “The more you do something, the more you learn,” she says. “If you make a mistake on your stream and the microphone wasn’t working and it looks bad, use that as part of your learning process.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13883181/cash-monet-sashays-from-drag-clubs-to-twitch-streams","authors":["11387"],"series":["arts_4525"],"categories":["arts_1","arts_835","arts_1003"],"tags":["arts_1556","arts_10342","arts_10278","arts_905","arts_4213","arts_10648"],"featImg":"arts_13883368","label":"arts_4525"},"arts_13881996":{"type":"posts","id":"arts_13881996","meta":{"index":"posts_1716263798","site":"arts","id":"13881996","score":null,"sort":[1592409467000]},"parent":0,"labelTerm":{"site":"arts","term":4525},"blocks":[],"publishDate":1592409467,"format":"image","title":"A Filmmaker Turns to Organizing Through Mutual Aid","headTitle":"A Filmmaker Turns to Organizing Through Mutual Aid | KQED","content":"\u003cp>Before the past month, AroMa, a 22-year-old artist from Oakland, didn’t self-identify as an activist or an organizer. \u003c/p>\n\u003cp>“Recently my friends and I have been like, ‘What was your life before you were a revolutionary?’” AroMa laughs. “It really does feel like a past life.”\u003c/p>\n\u003cp>That past life was spent directing Bay Area artists’ music videos, making a debut short film \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=cNBsHZpeSxA\" rel=\"noopener noreferrer\" target=\"_blank\">ZoomBug\u003c/a>\u003c/i>, which premiered in 2018, and working on another musical film project, \u003ci>\u003ca href=\"https://www.moonbabyfilm.com/\" rel=\"noopener noreferrer\" target=\"_blank\">MoonBaby\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>But when the protests started in Oakland in response to the killing of George Floyd by Minneapolis police officer Derrick Chauvin, AroMa’s first impulse was to join in—after doing a little research about the risks involved. The urgency of the situation, especially after Trump tweeted “when the looting starts, the shooting starts,” was palpable. “It felt like one of those undeniable moments,” says AroMa of the president’s May 28 tweet. “If you didn’t understand what side the state is on in relation to you before, please understand now.” \u003c/p>\n\u003cfigure id=\"attachment_13882012\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13882012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Instructions in the Omni Commons basement for mixing a solution to lessen the effects of tear gas, a formula learned from Hong Kong protesters. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, previous experience taught AroMa, who uses they/them pronouns, to hit the streets prepared. “If you’re from here, you’re not new to protests and gatherings even if you’re not an ‘organizer/activist,’” they explain. AroMa had participated in Occupy protests while they were still in high school, and remembered seeing protesters exposed to tear gas being treated with liquid sprayed into their faces. That image from nearly a decade ago lodged in AroMa’s memory: “What’s the spray made of?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Floating an idea \u003ca href=\"https://twitter.com/Yea_itsmethough/status/1266264381978865670?s=20\" rel=\"noopener noreferrer\" target=\"_blank\">on Twitter\u003c/a> on May 29—“Thinking of making little protest / riot kits to hand out for free”—AroMa immediately heard back from followers asking how they could donate money to the cause. Later that night, with help from friends, they handed out over 100 kits to protesters in downtown Oakland, hastily assembled with supplies from Dollar Tree and other shops. The total cost of putting together the kits came to about $500, AroMa says.\u003c/p>\n\u003cp>Two days later, the group had a name (\u003ca href=\"https://www.instagram.com/pkoakland2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Protesters Kit Oakland\u003c/a>), a Cash App account, a Gmail address and the goal of making 200 additional kits.\u003c/p>\n\u003cp>“Things just kind of started to snowball on their own,” AroMa says. PKO is now run by a core group of five. “With my background in producing films and connecting with people, I’m good at organizing people quickly to do a certain task.” \u003c/p>\n\u003cfigure id=\"attachment_13882011\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200.jpg\" alt=\"\" width=\"1200\" height=\"889\" class=\"size-full wp-image-13882011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200-1020x756.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">AroMa in the Omni Commons basement, where kits are assembled by a group of volunteers. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the protests continued, PKO’s kits adapted to meet new needs and on-the-ground experience. In addition to swim goggles and a solution of baking soda and water used to lessen the effects of pepper spray and tear gas, they started including permanent markers and basic first aid supplies, later adding snacks. \u003c/p>\n\u003cp>Socially distanced volunteers helped assemble the kits, first in a living room, then a backyard, then in the basement of Omni Commons. People donated not just money but supplies, easing the burden on the organizers, who’d been driving around town looking for mini spray bottles or waiting on bulk orders from online vendors. \u003c/p>\n\u003cp>For over a week, as protests and actions moved through the streets in concert with a national uprising for racial justice, PKO was AroMa’s full-time focus. They wanted to honor the trust both the protesters and the donors had placed in PKO, by researching kit contents, responding to messages and forging connections with other grassroots operations, like a group of organizers in Anaheim, who AroMa drove down to meet, delivering surplus kits.\u003c/p>\n\u003cfigure id=\"attachment_13882013\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13882013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">AroMa handles the coordination for PKO through Instagram messages, by text and email. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the protests in Oakland calmed, AroMA started looking to the future of the project. In total, they estimate PKO has received about $10,000 in donations and supplies, $3,000 of which has already been spent on kits handed out at recent protests. AroMa is looking to donate some of that to other organizations in need, now that PKO has the resources to do so. \u003c/p>\n\u003cp>The material output of the project is constantly adapting. PKO is now shifting focus to education and community building. “Protesters Kit goes beyond emergency needs,” they say. “It’s really about equipping people with the right tools to combat oppression, and those tools can look different at any point. Sometimes that will be gauze and tear gas solution and sometimes that will be as simple as water, snacks and information.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='AroMa']‘I have never been activated in the way that I’m activated now.’[/pullquote]“Being artists and trying to figure out how to employ our specific skill sets and talents around this movement is very very important right now,” they add. “There has to be a way to continue to build around this moment.” AroMa envisions PKO as an auxiliary to existing organizations and established movements, working collaboratively towards the ultimate goal of abolishing the police through a strategy of demilitarization. They list off other goals: ban the use of tear gas in Oakland and Alameda County, make public all records of police misconduct, reallocate OPD funding into public schools. \u003c/p>\n\u003cp>In the immediate, PKO is organizing \u003ca href=\"https://www.instagram.com/p/CBhbiBphKWU/\" rel=\"noopener noreferrer\" target=\"_blank\">a community walk\u003c/a> to celebrate Black life and culture. The day is about “making a movement thrive by making it absolutely irresistible.” \u003c/p>\n\u003cp>AroMa is in it for the long haul: “I have never been activated in the way that I’m activated now.”\u003c/p>\n\u003cp>For younger folks, AroMa says, joining a larger organization with an established hierarchy can be daunting. But mutual aid—seeing an immediate need and responding to it directly—just felt like the right thing to do. “When it comes to getting involved you just have to do it,” they say.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You just can’t let the fear of ignorance or of mistakes paralyze you. Inaction is way worse. Stagnation is way worse. Complacency is way worse. That’s the same attitude I have towards PKO and literally any art I do.” \u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1111,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":20},"modified":1705020569,"excerpt":"AroMa launched themselves into organizing the same way they approach art: wholeheartedly. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"AroMa launched themselves into organizing the same way they approach art: wholeheartedly. ","title":"A Filmmaker Turns to Organizing Through Mutual Aid | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Filmmaker Turns to Organizing Through Mutual Aid","datePublished":"2020-06-17T08:57:47-07:00","dateModified":"2024-01-11T16:49:29-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"hustle-protesters-kit-oakland-aroma","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13881996/hustle-protesters-kit-oakland-aroma","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before the past month, AroMa, a 22-year-old artist from Oakland, didn’t self-identify as an activist or an organizer. \u003c/p>\n\u003cp>“Recently my friends and I have been like, ‘What was your life before you were a revolutionary?’” AroMa laughs. “It really does feel like a past life.”\u003c/p>\n\u003cp>That past life was spent directing Bay Area artists’ music videos, making a debut short film \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=cNBsHZpeSxA\" rel=\"noopener noreferrer\" target=\"_blank\">ZoomBug\u003c/a>\u003c/i>, which premiered in 2018, and working on another musical film project, \u003ci>\u003ca href=\"https://www.moonbabyfilm.com/\" rel=\"noopener noreferrer\" target=\"_blank\">MoonBaby\u003c/a>\u003c/i>. \u003c/p>\n\u003cp>But when the protests started in Oakland in response to the killing of George Floyd by Minneapolis police officer Derrick Chauvin, AroMa’s first impulse was to join in—after doing a little research about the risks involved. The urgency of the situation, especially after Trump tweeted “when the looting starts, the shooting starts,” was palpable. “It felt like one of those undeniable moments,” says AroMa of the president’s May 28 tweet. “If you didn’t understand what side the state is on in relation to you before, please understand now.” \u003c/p>\n\u003cfigure id=\"attachment_13882012\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13882012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_7_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Instructions in the Omni Commons basement for mixing a solution to lessen the effects of tear gas, a formula learned from Hong Kong protesters. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, previous experience taught AroMa, who uses they/them pronouns, to hit the streets prepared. “If you’re from here, you’re not new to protests and gatherings even if you’re not an ‘organizer/activist,’” they explain. AroMa had participated in Occupy protests while they were still in high school, and remembered seeing protesters exposed to tear gas being treated with liquid sprayed into their faces. That image from nearly a decade ago lodged in AroMa’s memory: “What’s the spray made of?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Floating an idea \u003ca href=\"https://twitter.com/Yea_itsmethough/status/1266264381978865670?s=20\" rel=\"noopener noreferrer\" target=\"_blank\">on Twitter\u003c/a> on May 29—“Thinking of making little protest / riot kits to hand out for free”—AroMa immediately heard back from followers asking how they could donate money to the cause. Later that night, with help from friends, they handed out over 100 kits to protesters in downtown Oakland, hastily assembled with supplies from Dollar Tree and other shops. The total cost of putting together the kits came to about $500, AroMa says.\u003c/p>\n\u003cp>Two days later, the group had a name (\u003ca href=\"https://www.instagram.com/pkoakland2020/\" rel=\"noopener noreferrer\" target=\"_blank\">Protesters Kit Oakland\u003c/a>), a Cash App account, a Gmail address and the goal of making 200 additional kits.\u003c/p>\n\u003cp>“Things just kind of started to snowball on their own,” AroMa says. PKO is now run by a core group of five. “With my background in producing films and connecting with people, I’m good at organizing people quickly to do a certain task.” \u003c/p>\n\u003cfigure id=\"attachment_13882011\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200.jpg\" alt=\"\" width=\"1200\" height=\"889\" class=\"size-full wp-image-13882011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_3_1200-1020x756.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">AroMa in the Omni Commons basement, where kits are assembled by a group of volunteers. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the protests continued, PKO’s kits adapted to meet new needs and on-the-ground experience. In addition to swim goggles and a solution of baking soda and water used to lessen the effects of pepper spray and tear gas, they started including permanent markers and basic first aid supplies, later adding snacks. \u003c/p>\n\u003cp>Socially distanced volunteers helped assemble the kits, first in a living room, then a backyard, then in the basement of Omni Commons. People donated not just money but supplies, easing the burden on the organizers, who’d been driving around town looking for mini spray bottles or waiting on bulk orders from online vendors. \u003c/p>\n\u003cp>For over a week, as protests and actions moved through the streets in concert with a national uprising for racial justice, PKO was AroMa’s full-time focus. They wanted to honor the trust both the protesters and the donors had placed in PKO, by researching kit contents, responding to messages and forging connections with other grassroots operations, like a group of organizers in Anaheim, who AroMa drove down to meet, delivering surplus kits.\u003c/p>\n\u003cfigure id=\"attachment_13882013\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13882013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/KQED_AroMa_PK_The_Hustle_hires_8_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">AroMa handles the coordination for PKO through Instagram messages, by text and email. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the protests in Oakland calmed, AroMA started looking to the future of the project. In total, they estimate PKO has received about $10,000 in donations and supplies, $3,000 of which has already been spent on kits handed out at recent protests. AroMa is looking to donate some of that to other organizations in need, now that PKO has the resources to do so. \u003c/p>\n\u003cp>The material output of the project is constantly adapting. PKO is now shifting focus to education and community building. “Protesters Kit goes beyond emergency needs,” they say. “It’s really about equipping people with the right tools to combat oppression, and those tools can look different at any point. Sometimes that will be gauze and tear gas solution and sometimes that will be as simple as water, snacks and information.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I have never been activated in the way that I’m activated now.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"AroMa","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Being artists and trying to figure out how to employ our specific skill sets and talents around this movement is very very important right now,” they add. “There has to be a way to continue to build around this moment.” AroMa envisions PKO as an auxiliary to existing organizations and established movements, working collaboratively towards the ultimate goal of abolishing the police through a strategy of demilitarization. They list off other goals: ban the use of tear gas in Oakland and Alameda County, make public all records of police misconduct, reallocate OPD funding into public schools. \u003c/p>\n\u003cp>In the immediate, PKO is organizing \u003ca href=\"https://www.instagram.com/p/CBhbiBphKWU/\" rel=\"noopener noreferrer\" target=\"_blank\">a community walk\u003c/a> to celebrate Black life and culture. The day is about “making a movement thrive by making it absolutely irresistible.” \u003c/p>\n\u003cp>AroMa is in it for the long haul: “I have never been activated in the way that I’m activated now.”\u003c/p>\n\u003cp>For younger folks, AroMa says, joining a larger organization with an established hierarchy can be daunting. But mutual aid—seeing an immediate need and responding to it directly—just felt like the right thing to do. “When it comes to getting involved you just have to do it,” they say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You just can’t let the fear of ignorance or of mistakes paralyze you. Inaction is way worse. Stagnation is way worse. Complacency is way worse. That’s the same attitude I have towards PKO and literally any art I do.” \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13881996/hustle-protesters-kit-oakland-aroma","authors":["61"],"series":["arts_4525"],"categories":["arts_1","arts_835"],"tags":["arts_4459","arts_3156","arts_10278","arts_10785","arts_1756","arts_4213"],"featImg":"arts_13882014","label":"arts_4525"},"arts_13880216":{"type":"posts","id":"arts_13880216","meta":{"index":"posts_1716263798","site":"arts","id":"13880216","score":null,"sort":[1589314027000]},"parent":0,"labelTerm":{"site":"arts","term":4525},"blocks":[],"publishDate":1589314027,"format":"image","title":"During Shutdown, Sharpening Knives Helps a Restaurant Worker Pay the Bills","headTitle":"During Shutdown, Sharpening Knives Helps a Restaurant Worker Pay the Bills | KQED","content":"\u003cp>Ryan Taylor’s pitch for using sharpened knives is straightforward and convincing. “The experience is just so much more pleasant,” he says. “I recommend it to everybody.” \u003c/p>\n\u003cp>[pullquote align='right' size='small']\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Mortgage: $1,500/month\u003c/li>\n\u003cli>Income before pandemic: $85,000–$90,000/year\u003c/li>\n\u003cli>Knife sharpening income: $150–$200/day\u003c/li>\n\u003cli>Charge to sharpen a 6”–8” chef’s knife: $9\u003c/li>\n\u003c/ul>\n\u003cp>\u003cbr>\n[/pullquote]The West Oakland resident is part of a growing population of restaurant workers who have turned their hobbies and skill sets into \u003ca href=\"https://hungryhungryhooker.squarespace.com/hustle\" rel=\"noopener noreferrer\" target=\"_blank\">side hustles\u003c/a> to weather the financial impact of the coronavirus pandemic. Together with his wife, Andrea Taylor, Ryan launched \u003ca href=\"https://www.rysknives.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ry’s Knives\u003c/a> on April 25, a hand knife-sharpening service for East Bay residents wearing out their blades with all that home cooking. \u003c/p>\n\u003cp>“Most of the sharpen-while-you-wait services are going to be somebody taking it to a mechanical grinding wheel,” Ryan explains. In contrast, his method uses five different sharpening stones, and takes him 20–30 minutes a knife. “It’s the best for a knife. It removes the least material,” he says.\u003c/p>\n\u003cp>Ryan honed his skills (apologies, the knife sharpening business is rife with punning opportunities) during his earliest days in the restaurant industry. In his first job as a busboy, he learned to sharpen knives from a friend in the kitchen. “I’d always been interested in food and I’d cooked a lot in homes, but it was cool to see somebody carry out that skill,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13880218\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13880218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Taylor estimates his knife-sharpening equipment cost him between $1,200 and $1,500. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sharpening knives remained a private practice, something he did for friends and family as he moved through various positions and establishments in the Bay Area restaurant scene. Ry’s Knives is the first time he’s turned those skills into a moneymaking enterprise. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s because until March 19, Ryan was making between $85,000 and $90,000 a year as a captain at \u003ca href=\"https://www.lazybearsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Lazy Bear\u003c/a>, a two-Michelin star restaurant in the Mission that specializes in high-end tasting menus presented in a communal, dinner-party setting. As a server, Ryan says his job is to be “as passionate as possible about the products, and convey that to guests.”\u003c/p>\n\u003cp>While Lazy Bear is no longer open for dinner service, the restaurant has transitioned into a commissary-style storefront, selling breakfast, lunch, coffee, cocktails, wine and pantry items. Ryan says there’s lots of work to do to support this new business model, even for front-of-house staff. \u003c/p>\n\u003cp>But the Taylors decided, after serious discussion, to self-isolate and remain home. The couple met in the food-service industry, but now only Ryan remains in the field. “If we were both still working in the restaurant industry, it wouldn’t even have been a conversation,” he says. “If there was work to go to, we would have gone to it,” she agrees.\u003c/p>\n\u003cfigure id=\"attachment_13880220\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200.jpg\" alt=\"\" width=\"1200\" height=\"846\" class=\"size-full wp-image-13880220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200-1020x719.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andrea and Ryan Taylor have self-isolated at home during the pandemic. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the pandemic, Taylor made San Francisco’s minimum wage of $15.59 an hour, but received additional income from the 20% service fee applied to each diner’s bill (in lieu of tips). Aiding their decision to stay at home was the fact that Lazy Bear offered to keep Ryan on payroll anyway, in a gesture of almost unheard-of goodwill. Ryan is extremely thankful this is the case; he’s being paid $18 an hour for a 40-hour phantom work week. It’s unclear, however, just how long Lazy Bear can sustain this arrangement. Ryan says they’ve started talking about furloughs. He’s volunteered to take one, and the restaurant has vowed to maintain his health insurance.\u003c/p>\n\u003cp>The Taylors have kept above water during the pandemic thanks to Andrea’s job, family support and the newly added income from the knife-sharpening business. Andrea works full-time as an administrator at the Lawrence Berkeley National Laboratory and is about halfway through a master’s degree in public administration at USF. She’s been able to continue both remotely and help Ryan with Ry’s Knives. (She set up the website and oversees a spreadsheet to coordinate quotes, orders, pick-ups and drop-offs.) “My skill set lies in organizing and prompting action,” she explains.\u003c/p>\n\u003cp>Ry’s Knives now brings in about $150–$200 a day. “It’s tight, but it’s enough to make it work,” Ryan says. His family helped the couple by paying the $1,500 mortgage on their home the past two months. Their other remaining expenses are utilities ($900 a month) and property tax ($500 a month). A few months ago they would have listed “going out” as a major expense, but the pandemic put a stop to that. \u003c/p>\n\u003cfigure id=\"attachment_13880223\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13880223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Besides the knife sharpening station, the Taylors’ house resembles many during shelter in place. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ryan estimates the equipment he uses to sharpen knives cost him between $1,500 and $2,000, money he spent long before this side business was a glimmer in his eye. “We’ve been kind of figuring it out as we go,” Ryan says. “It’s been interesting trying to transition to doing dozens of knives a day for customers.” He says his shoulders are getting a bit of a workout. \u003c/p>\n\u003cp>[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]While their pricing is fairly competitive with sharpen-while-you-wait services, Ryan notes an increased demand might necessitate a reevaluation of just how time-consuming the process of hand-sharpening really is (especially for serrated blades). If the opportunity arises to safely return to Lazy Bear, Ryan says he would definitely let Ry’s Knives fall by the wayside. \u003c/p>\n\u003cp>“I love the restaurant business and I’ve always had a soft spot for the enthusiasm and passion Lazy Bear, in particular, brings,” he says. “It’s an amazing experience. I think it’s just so heady and intoxicating and I look forward to being able to provide something like it again.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the meantime, those wondering if their neglected knives might be too far gone for even Ryan’s attentions, rest assured: “If there’s still metal left on it, you can pretty much do something with it.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1152,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":18},"modified":1705020762,"excerpt":"Opting for health and safety over restaurant work, Ryan Taylor has launched a new side hustle with his wife, Andrea.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Opting for health and safety over restaurant work, Ryan Taylor has launched a new side hustle with his wife, Andrea.","title":"During Shutdown, Sharpening Knives Helps a Restaurant Worker Pay the Bills | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"During Shutdown, Sharpening Knives Helps a Restaurant Worker Pay the Bills","datePublished":"2020-05-12T13:07:07-07:00","dateModified":"2024-01-11T16:52:42-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"during-shutdown-sharpening-knives-helps-a-restaurant-worker-pay-the-bills","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13880216/during-shutdown-sharpening-knives-helps-a-restaurant-worker-pay-the-bills","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ryan Taylor’s pitch for using sharpened knives is straightforward and convincing. “The experience is just so much more pleasant,” he says. “I recommend it to everybody.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Mortgage: $1,500/month\u003c/li>\n\u003cli>Income before pandemic: $85,000–$90,000/year\u003c/li>\n\u003cli>Knife sharpening income: $150–$200/day\u003c/li>\n\u003cli>Charge to sharpen a 6”–8” chef’s knife: $9\u003c/li>\n\u003c/ul>\n\u003cp>\u003cbr>\n","name":"pullquote","attributes":{"named":{"align":"right","size":"small","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The West Oakland resident is part of a growing population of restaurant workers who have turned their hobbies and skill sets into \u003ca href=\"https://hungryhungryhooker.squarespace.com/hustle\" rel=\"noopener noreferrer\" target=\"_blank\">side hustles\u003c/a> to weather the financial impact of the coronavirus pandemic. Together with his wife, Andrea Taylor, Ryan launched \u003ca href=\"https://www.rysknives.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ry’s Knives\u003c/a> on April 25, a hand knife-sharpening service for East Bay residents wearing out their blades with all that home cooking. \u003c/p>\n\u003cp>“Most of the sharpen-while-you-wait services are going to be somebody taking it to a mechanical grinding wheel,” Ryan explains. In contrast, his method uses five different sharpening stones, and takes him 20–30 minutes a knife. “It’s the best for a knife. It removes the least material,” he says.\u003c/p>\n\u003cp>Ryan honed his skills (apologies, the knife sharpening business is rife with punning opportunities) during his earliest days in the restaurant industry. In his first job as a busboy, he learned to sharpen knives from a friend in the kitchen. “I’d always been interested in food and I’d cooked a lot in homes, but it was cool to see somebody carry out that skill,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13880218\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13880218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_5_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Taylor estimates his knife-sharpening equipment cost him between $1,200 and $1,500. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sharpening knives remained a private practice, something he did for friends and family as he moved through various positions and establishments in the Bay Area restaurant scene. Ry’s Knives is the first time he’s turned those skills into a moneymaking enterprise. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s because until March 19, Ryan was making between $85,000 and $90,000 a year as a captain at \u003ca href=\"https://www.lazybearsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Lazy Bear\u003c/a>, a two-Michelin star restaurant in the Mission that specializes in high-end tasting menus presented in a communal, dinner-party setting. As a server, Ryan says his job is to be “as passionate as possible about the products, and convey that to guests.”\u003c/p>\n\u003cp>While Lazy Bear is no longer open for dinner service, the restaurant has transitioned into a commissary-style storefront, selling breakfast, lunch, coffee, cocktails, wine and pantry items. Ryan says there’s lots of work to do to support this new business model, even for front-of-house staff. \u003c/p>\n\u003cp>But the Taylors decided, after serious discussion, to self-isolate and remain home. The couple met in the food-service industry, but now only Ryan remains in the field. “If we were both still working in the restaurant industry, it wouldn’t even have been a conversation,” he says. “If there was work to go to, we would have gone to it,” she agrees.\u003c/p>\n\u003cfigure id=\"attachment_13880220\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200.jpg\" alt=\"\" width=\"1200\" height=\"846\" class=\"size-full wp-image-13880220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_14_1200-1020x719.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Andrea and Ryan Taylor have self-isolated at home during the pandemic. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the pandemic, Taylor made San Francisco’s minimum wage of $15.59 an hour, but received additional income from the 20% service fee applied to each diner’s bill (in lieu of tips). Aiding their decision to stay at home was the fact that Lazy Bear offered to keep Ryan on payroll anyway, in a gesture of almost unheard-of goodwill. Ryan is extremely thankful this is the case; he’s being paid $18 an hour for a 40-hour phantom work week. It’s unclear, however, just how long Lazy Bear can sustain this arrangement. Ryan says they’ve started talking about furloughs. He’s volunteered to take one, and the restaurant has vowed to maintain his health insurance.\u003c/p>\n\u003cp>The Taylors have kept above water during the pandemic thanks to Andrea’s job, family support and the newly added income from the knife-sharpening business. Andrea works full-time as an administrator at the Lawrence Berkeley National Laboratory and is about halfway through a master’s degree in public administration at USF. She’s been able to continue both remotely and help Ryan with Ry’s Knives. (She set up the website and oversees a spreadsheet to coordinate quotes, orders, pick-ups and drop-offs.) “My skill set lies in organizing and prompting action,” she explains.\u003c/p>\n\u003cp>Ry’s Knives now brings in about $150–$200 a day. “It’s tight, but it’s enough to make it work,” Ryan says. His family helped the couple by paying the $1,500 mortgage on their home the past two months. Their other remaining expenses are utilities ($900 a month) and property tax ($500 a month). A few months ago they would have listed “going out” as a major expense, but the pandemic put a stop to that. \u003c/p>\n\u003cfigure id=\"attachment_13880223\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13880223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/KQED_The_Hustle_Ryan_Andrea_Taylor_Graham_Holoch_hires_13_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Besides the knife sharpening station, the Taylors’ house resembles many during shelter in place. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ryan estimates the equipment he uses to sharpen knives cost him between $1,500 and $2,000, money he spent long before this side business was a glimmer in his eye. “We’ve been kind of figuring it out as we go,” Ryan says. “It’s been interesting trying to transition to doing dozens of knives a day for customers.” He says his shoulders are getting a bit of a workout. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Side Gigs and Successes ","link1":"https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.","target":"_blank"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While their pricing is fairly competitive with sharpen-while-you-wait services, Ryan notes an increased demand might necessitate a reevaluation of just how time-consuming the process of hand-sharpening really is (especially for serrated blades). If the opportunity arises to safely return to Lazy Bear, Ryan says he would definitely let Ry’s Knives fall by the wayside. \u003c/p>\n\u003cp>“I love the restaurant business and I’ve always had a soft spot for the enthusiasm and passion Lazy Bear, in particular, brings,” he says. “It’s an amazing experience. I think it’s just so heady and intoxicating and I look forward to being able to provide something like it again.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, those wondering if their neglected knives might be too far gone for even Ryan’s attentions, rest assured: “If there’s still metal left on it, you can pretty much do something with it.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13880216/during-shutdown-sharpening-knives-helps-a-restaurant-worker-pay-the-bills","authors":["61"],"series":["arts_4525"],"categories":["arts_1","arts_835"],"tags":["arts_10126","arts_10278","arts_1297","arts_4213","arts_10648"],"featImg":"arts_13880221","label":"arts_4525"},"arts_13878393":{"type":"posts","id":"arts_13878393","meta":{"index":"posts_1716263798","site":"arts","id":"13878393","score":null,"sort":[1586476288000]},"parent":0,"labelTerm":{"site":"arts","term":4525},"blocks":[],"publishDate":1586476288,"format":"image","title":"How a 23-Year-Old Tattoo Artist, Sidelined by Shutdown, Is Getting By","headTitle":"How a 23-Year-Old Tattoo Artist, Sidelined by Shutdown, Is Getting By | KQED","content":"\u003cp>Emma Pierce was driving home from the airport when she got the call from her tattoo shop.\u003c/p>\n\u003cp>Since she’d been on vacation in Japan for three weeks, the shop owner explained, and since this new thing called the coronavirus seemed pretty dangerous, some coworkers had expressed concern about her returning to work after traveling abroad.\u003c/p>\n\u003cp>[pullquote align='right' size='small']\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Rent: $1,400/mo.\u003c/li>\n\u003cli>Car Payment and Insurance: $250/mo.\u003c/li>\n\u003cli>Groceries: $100-$200/mo.\u003c/li>\n\u003cli>Average Income Before Shutdown: $700–$900/wk.\u003c/li>\n\u003cli>Unemployment Compensation After Shutdown: $450/wk.\u003c/li>\n\u003cli>Still Waiting On: $1,200 Federal Stimulus Check\u003c/li>\n\u003c/ul>\n\u003cp>\u003cbr>\n[/pullquote]\u003c/p>\n\u003cp>Pierce agreed to self-quarantine at home for the next 14 days, foregoing income. When she finally returned to work, after paying for a vacation and having no income for over a month, she got a week of work in before the shelter-in-place order closed the shop entirely. \u003c/p>\n\u003cp>Now, sitting on the couch in a $1,400-a-month, 600-square-foot Santa Rosa apartment she just started renting with her boyfriend, Pierce doesn’t know when she’ll be able to work again.\u003c/p>\n\u003cp>Along with over 6 million others in the United States, she’s filed for unemployment. And she considers herself lucky to have a cushion of money saved up—about $10,000.\u003c/p>\n\u003cp>“Which is not that much,” she says. “But I feel like for someone my age, at 23, it’s a lot.”\u003c/p>\n\u003cp>Hopefully it will be enough. Pierce has no idea when the shop will reopen. When it does, “I think it’ll be slow, especially walk-ins,” she says, aware that people may be cautious of skin-to-skin contact with strangers. “Everything will be different. It’s worrying.”\u003c/p>\n\u003cfigure id=\"attachment_13878432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Countertop-800x534.jpg\" alt=\"Emma Pierce draws at her kitchen counter in Santa Rosa.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce draws at her kitchen counter in Santa Rosa. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Income and Expenses\u003c/h2>\n\u003cp>It’s a marked change from the upward trajectory of the young tattoo artist’s career. Pierce had been consistently booked out two-to-three weeks in advance at Santa Rosa’s Glass Beetle Tattoo, bringing in an average of $700–$900 a week.\u003c/p>\n\u003cp>“So sometimes as much as $4,000 a month. And that’s after taxes, plus cash,” she says.\u003c/p>\n\u003cp>Pierce also benefited from changes at the shop brought on by AB5, the California assembly bill meant to reclassify gig workers and independent contractors as employees. While other rent-your-station businesses like hair salons, barber shops and tattoo parlors struggled with the bill’s byzantine restrictions, the owner of Pierce’s shop simply put everyone on payroll and proposed a commission model. For every tattoo Pierce does, the shop gets 40%, and she gets 60% plus tips. \u003c/p>\n\u003cp>Often, like many restaurant servers, Pierce lives off those cash tips for day-to-day expenses. She and her boyfriend spend $100–$200 a week on groceries (a book laying on her shelf is titled \u003cem>101 Things to Do With Ramen Noodles\u003c/em>). Between her insurance and loan payment on her 2017 Mistubishi Mirage, she spends $250 a month on the car. A therapist helps with the stress of work (“I recommend it literally for everyone,” Pierce says); she pays on a sliding scale at $40–$60 a week. \u003c/p>\n\u003cfigure id=\"attachment_13878433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Station-800x534.jpg\" alt=\"Emma Pierce at her station, which has been empty since the shutdown closed the tattoo shop where she works.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce at her station, which has been empty since the shutdown closed the tattoo shop where she works. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pierce saves money in other ways. She bought a used iPad Pro for $500 on eBay (about half the cost of a new one), which she uses to draw tattoos for appointments. When she’s working, she has enough bookings that she doesn’t need to pay for Instagram ads, and the shop owner buys communal supplies like needles, tubes, inks, gloves and paper towels. And she’s still covered under her mom’s health insurance plan for another month.\u003c/p>\n\u003cp>Her most emphatic advice, for young people especially, is to set up a direct deposit into a savings account. She sends 10% of each paycheck into her savings automatically. “It’s really helpful, you don’t have to even think about it, and then you have a little bit in savings after a while,” she says.\u003c/p>\n\u003cp>She does note that she was privileged to live with her mom until a month ago, and to not have experienced much financial hardship. But she also works hard, coming home from work at 8 or 9pm and then drawing the next day’s appointments until midnight. \u003c/p>\n\u003cp>Considering how she learned to tattoo, you could say Pierce is used to hard work. \u003c/p>\n\u003cfigure id=\"attachment_13878431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Couch_-800x500.jpg\" alt=\"Emma Pierce at her apartment in Santa Rosa. The 23-year-old tattoo artist has been out of work for weeks due to the coronavirus shutdown.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13878431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce at her apartment in Santa Rosa. The 23-year-old tattoo artist has been out of work for weeks due to the coronavirus shutdown. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Getting Her Start\u003c/h2>\n\u003cp>Pierce was in college when she got her first tattoo, the mention of which evokes an embarrassed “\u003cem>Ooooohhhh, God\u003c/em>” from its owner. “It’s the feminist symbol, with the fist,” she says, sheepishly. “It’s the typical liberal college arts kid thing.”\u003c/p>\n\u003cp>But she was fascinated by tattoos, giving herself a few stick-and-pokes, and hanging around shops. Once she knew she wanted to become a tattoo artist instead of going to Santa Rosa Junior College, she found a mentor willing to take her on as an apprentice at Glass Beetle, right across the street.\u003c/p>\n\u003cp>Most tattoo artists get their start as an apprentice, and it’s not easy: Pierce put in 40 hours a week for a year, and paid $1,400 up front and $200 per month for the experience. \u003c/p>\n\u003cp>“It was hard,” Pierce says. “I was a softie, and that’s not good for a tattoo shop.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pierce heard of other apprenticeships costing $5,000–$10,000, and lasting over two years, but she picked up skills quickly and had a good mentor who was hard on her in all the right ways.\u003c/p>\n\u003cp>[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]“If you’re gonna be a tattoo artist, you have to be able to tell people ‘this is not a good idea’ or ‘this is not gonna work.’ You have to be able to assert yourself and be confident in what you’re saying. And I was not very confident. He did a really good job in hammering out the soft, cushy attitude I had,” Pierce says.\u003c/p>\n\u003cp>During her apprenticeship, to pay the bills, she also worked at a coffee shop from 6am to noon, where she made $12 an hour plus tips. Then she would go to the tattoo shop for another eight to ten hours of tattooing and clean-up. \u003c/p>\n\u003cp>“I had it pretty easy, compared to how it used to be,” Pierce says of her apprenticeship. “It used to be abuse, like, straight-up hazing. I didn’t have it that bad.”\u003c/p>\n\u003cfigure id=\"attachment_13878434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Gate_-800x533.jpg\" alt=\"Emma Pierce closes the gates at the tattoo shop.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13878434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce closes the gates at the tattoo shop. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Next?\u003c/h2>\n\u003cp>Nowadays, with the shop closed, Pierce has cut back on as much spending as possible. In her under-decorated new apartment are houseplants, cooking utensils and manga books, evidence of her modest hobbies during the shelter-in-place order. When she’s not watching anime or talking to her mom, she draws at the kitchen counter, an ad hoc work station. \u003c/p>\n\u003cp>Her boyfriend is still working at a local winery, where he makes $20 an hour; since the tasting room he tended is now closed, he’s helping out in the warehouse. Pierce still hasn’t received any unemployment, but she’s been notified she’ll get $450 a week, the state maximum. Hopefully, the extra $600 promised by Governor Newsom will be part of it. The federal stimulus check of $1,200 feels like a distant thought. “It’s going to be interesting not having income,” Pierce says. \u003c/p>\n\u003cp>As someone used to working hard, Pierce feels a little rootless. \u003c/p>\n\u003cp>“I haven’t been online shopping. I haven’t been going out,” she says. “I’m just not spending money, because I’m just sitting at home doing nothing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1440,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":31},"modified":1705020917,"excerpt":"Emma Pierce had already self-quarantined for two weeks when her tattoo shop closed and income dried up.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Emma Pierce had already self-quarantined for two weeks when her tattoo shop closed and income dried up.","title":"How a 23-Year-Old Tattoo Artist, Sidelined by Shutdown, Is Getting By | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How a 23-Year-Old Tattoo Artist, Sidelined by Shutdown, Is Getting By","datePublished":"2020-04-09T16:51:28-07:00","dateModified":"2024-01-11T16:55:17-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"how-a-23-year-old-tattoo-artist-sidelined-by-shutdown-is-getting-by","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13878393/how-a-23-year-old-tattoo-artist-sidelined-by-shutdown-is-getting-by","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emma Pierce was driving home from the airport when she got the call from her tattoo shop.\u003c/p>\n\u003cp>Since she’d been on vacation in Japan for three weeks, the shop owner explained, and since this new thing called the coronavirus seemed pretty dangerous, some coworkers had expressed concern about her returning to work after traveling abroad.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>Rent: $1,400/mo.\u003c/li>\n\u003cli>Car Payment and Insurance: $250/mo.\u003c/li>\n\u003cli>Groceries: $100-$200/mo.\u003c/li>\n\u003cli>Average Income Before Shutdown: $700–$900/wk.\u003c/li>\n\u003cli>Unemployment Compensation After Shutdown: $450/wk.\u003c/li>\n\u003cli>Still Waiting On: $1,200 Federal Stimulus Check\u003c/li>\n\u003c/ul>\n\u003cp>\u003cbr>\n","name":"pullquote","attributes":{"named":{"align":"right","size":"small","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pierce agreed to self-quarantine at home for the next 14 days, foregoing income. When she finally returned to work, after paying for a vacation and having no income for over a month, she got a week of work in before the shelter-in-place order closed the shop entirely. \u003c/p>\n\u003cp>Now, sitting on the couch in a $1,400-a-month, 600-square-foot Santa Rosa apartment she just started renting with her boyfriend, Pierce doesn’t know when she’ll be able to work again.\u003c/p>\n\u003cp>Along with over 6 million others in the United States, she’s filed for unemployment. And she considers herself lucky to have a cushion of money saved up—about $10,000.\u003c/p>\n\u003cp>“Which is not that much,” she says. “But I feel like for someone my age, at 23, it’s a lot.”\u003c/p>\n\u003cp>Hopefully it will be enough. Pierce has no idea when the shop will reopen. When it does, “I think it’ll be slow, especially walk-ins,” she says, aware that people may be cautious of skin-to-skin contact with strangers. “Everything will be different. It’s worrying.”\u003c/p>\n\u003cfigure id=\"attachment_13878432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Countertop-800x534.jpg\" alt=\"Emma Pierce draws at her kitchen counter in Santa Rosa.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Countertop.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce draws at her kitchen counter in Santa Rosa. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Income and Expenses\u003c/h2>\n\u003cp>It’s a marked change from the upward trajectory of the young tattoo artist’s career. Pierce had been consistently booked out two-to-three weeks in advance at Santa Rosa’s Glass Beetle Tattoo, bringing in an average of $700–$900 a week.\u003c/p>\n\u003cp>“So sometimes as much as $4,000 a month. And that’s after taxes, plus cash,” she says.\u003c/p>\n\u003cp>Pierce also benefited from changes at the shop brought on by AB5, the California assembly bill meant to reclassify gig workers and independent contractors as employees. While other rent-your-station businesses like hair salons, barber shops and tattoo parlors struggled with the bill’s byzantine restrictions, the owner of Pierce’s shop simply put everyone on payroll and proposed a commission model. For every tattoo Pierce does, the shop gets 40%, and she gets 60% plus tips. \u003c/p>\n\u003cp>Often, like many restaurant servers, Pierce lives off those cash tips for day-to-day expenses. She and her boyfriend spend $100–$200 a week on groceries (a book laying on her shelf is titled \u003cem>101 Things to Do With Ramen Noodles\u003c/em>). Between her insurance and loan payment on her 2017 Mistubishi Mirage, she spends $250 a month on the car. A therapist helps with the stress of work (“I recommend it literally for everyone,” Pierce says); she pays on a sliding scale at $40–$60 a week. \u003c/p>\n\u003cfigure id=\"attachment_13878433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Station-800x534.jpg\" alt=\"Emma Pierce at her station, which has been empty since the shutdown closed the tattoo shop where she works.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13878433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Station.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce at her station, which has been empty since the shutdown closed the tattoo shop where she works. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pierce saves money in other ways. She bought a used iPad Pro for $500 on eBay (about half the cost of a new one), which she uses to draw tattoos for appointments. When she’s working, she has enough bookings that she doesn’t need to pay for Instagram ads, and the shop owner buys communal supplies like needles, tubes, inks, gloves and paper towels. And she’s still covered under her mom’s health insurance plan for another month.\u003c/p>\n\u003cp>Her most emphatic advice, for young people especially, is to set up a direct deposit into a savings account. She sends 10% of each paycheck into her savings automatically. “It’s really helpful, you don’t have to even think about it, and then you have a little bit in savings after a while,” she says.\u003c/p>\n\u003cp>She does note that she was privileged to live with her mom until a month ago, and to not have experienced much financial hardship. But she also works hard, coming home from work at 8 or 9pm and then drawing the next day’s appointments until midnight. \u003c/p>\n\u003cp>Considering how she learned to tattoo, you could say Pierce is used to hard work. \u003c/p>\n\u003cfigure id=\"attachment_13878431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Couch_-800x500.jpg\" alt=\"Emma Pierce at her apartment in Santa Rosa. The 23-year-old tattoo artist has been out of work for weeks due to the coronavirus shutdown.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13878431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Couch_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce at her apartment in Santa Rosa. The 23-year-old tattoo artist has been out of work for weeks due to the coronavirus shutdown. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Getting Her Start\u003c/h2>\n\u003cp>Pierce was in college when she got her first tattoo, the mention of which evokes an embarrassed “\u003cem>Ooooohhhh, God\u003c/em>” from its owner. “It’s the feminist symbol, with the fist,” she says, sheepishly. “It’s the typical liberal college arts kid thing.”\u003c/p>\n\u003cp>But she was fascinated by tattoos, giving herself a few stick-and-pokes, and hanging around shops. Once she knew she wanted to become a tattoo artist instead of going to Santa Rosa Junior College, she found a mentor willing to take her on as an apprentice at Glass Beetle, right across the street.\u003c/p>\n\u003cp>Most tattoo artists get their start as an apprentice, and it’s not easy: Pierce put in 40 hours a week for a year, and paid $1,400 up front and $200 per month for the experience. \u003c/p>\n\u003cp>“It was hard,” Pierce says. “I was a softie, and that’s not good for a tattoo shop.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pierce heard of other apprenticeships costing $5,000–$10,000, and lasting over two years, but she picked up skills quickly and had a good mentor who was hard on her in all the right ways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"Side Gigs and Successes ","link1":"https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.","target":"_blank"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“If you’re gonna be a tattoo artist, you have to be able to tell people ‘this is not a good idea’ or ‘this is not gonna work.’ You have to be able to assert yourself and be confident in what you’re saying. And I was not very confident. He did a really good job in hammering out the soft, cushy attitude I had,” Pierce says.\u003c/p>\n\u003cp>During her apprenticeship, to pay the bills, she also worked at a coffee shop from 6am to noon, where she made $12 an hour plus tips. Then she would go to the tattoo shop for another eight to ten hours of tattooing and clean-up. \u003c/p>\n\u003cp>“I had it pretty easy, compared to how it used to be,” Pierce says of her apprenticeship. “It used to be abuse, like, straight-up hazing. I didn’t have it that bad.”\u003c/p>\n\u003cfigure id=\"attachment_13878434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/EmmaPierce.Gate_-800x533.jpg\" alt=\"Emma Pierce closes the gates at the tattoo shop.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13878434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/EmmaPierce.Gate_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Pierce closes the gates at the tattoo shop. \u003ccite>(Graham Holoch / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What Next?\u003c/h2>\n\u003cp>Nowadays, with the shop closed, Pierce has cut back on as much spending as possible. In her under-decorated new apartment are houseplants, cooking utensils and manga books, evidence of her modest hobbies during the shelter-in-place order. When she’s not watching anime or talking to her mom, she draws at the kitchen counter, an ad hoc work station. \u003c/p>\n\u003cp>Her boyfriend is still working at a local winery, where he makes $20 an hour; since the tasting room he tended is now closed, he’s helping out in the warehouse. Pierce still hasn’t received any unemployment, but she’s been notified she’ll get $450 a week, the state maximum. Hopefully, the extra $600 promised by Governor Newsom will be part of it. The federal stimulus check of $1,200 feels like a distant thought. “It’s going to be interesting not having income,” Pierce says. \u003c/p>\n\u003cp>As someone used to working hard, Pierce feels a little rootless. \u003c/p>\n\u003cp>“I haven’t been online shopping. I haven’t been going out,” she says. “I’m just not spending money, because I’m just sitting at home doing nothing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13878393/how-a-23-year-old-tattoo-artist-sidelined-by-shutdown-is-getting-by","authors":["185"],"series":["arts_4525"],"categories":["arts_1","arts_76","arts_70"],"tags":["arts_10126","arts_2639","arts_2721","arts_3224","arts_4213","arts_10648"],"featImg":"arts_13878435","label":"arts_4525"},"arts_13877073":{"type":"posts","id":"arts_13877073","meta":{"index":"posts_1716263798","site":"arts","id":"13877073","score":null,"sort":[1584660792000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1584660792,"format":"standard","title":"Art Students Demand Tuition Refunds As Classes Go Online","headTitle":"Art Students Demand Tuition Refunds As Classes Go Online | KQED","content":"\u003cp>\u003cem>Updated Thursday, 4:45 p.m.\u003c/em>\u003c/p>\n\u003cp>California College of the Arts, like most Bay Area higher-education institutions, is shifting to online classes amid shelter-in-place orders to stem transmission of the novel coronavirus, and some students want their money back. [aside postID=arts_13855321]\u003c/p>\n\u003cp>California College of the Arts (CCA), along with Academy of Art University and the San Francisco Art Institute, this past week shuttered most administrative and instructional facilities, including specialized studios related to disciplines such as ceramics, welding and textiles. More than half of its residential students have left campus; largely international students stymied by travel restrictions are staying onsite, according to the college.\u003c/p>\n\u003cp>As class moves online for the rest of the semester, with studios and other resources expected to remain closed, students at CCA and other schools are questioning what they get for their tuition.\u003c/p>\n\u003cp>Echoing a similar call by University of California students, an online \u003ca href=\"https://www.change.org/p/cca-administration-give-cca-students-a-tuition-refund\">petition\u003c/a> launched Monday by CCA animation student Kym Gray for a “partial tuition refund” has garnered more than 600 signatures. Gray, 23, a junior, told KQED the campus shutdowns affect, say, printmaking and sculpture students as much as digitally-focused students without access to costly software and compatible computers. Many students, Gray said, are incurring additional expenses to continue schoolwork remotely, and some consider online instruction a diminished form of learning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gray said she’s fortunate to have scholarships and grants, and was more motivated to launch the petition by her concern for peers paying tuition out of pocket. Still, Gray depends on onsite access to digital tools she doesn’t have at home in Oakland, and knows people in fields such as ceramics and glass-blowing who’ve been forced to effectively halt important projects. “I know if I was a 3D animation student my software licenses would cost like $1,000 right now,” Gray said. “That’s part of your tuition.” She added, “I do love CCA—we just want every dollar’s worth.”\u003c/p>\n\u003cp>“We’re aware of the petition, and of similar petitions,” Brian Maxey, a CCA spokesperson, said in a statement Wednesday. “Our primary focus is on the safety and well-being of our community, followed by ensuring our students are able to continue their learning in ways that, while different than what any of us expected, still fulfill the requirements and authentic learning outcomes for them to receive credit for their classes and continue progress toward their degrees.”\u003c/p>\n\u003cp>On Thursday, after this article was published, CCA president Stephen Beal and provost Tammy Rae Carland released a statement saying students who move out of the residence halls for the rest of the semester will receive a credit for their housing costs prorated to Tuesday, March 17.\u003c/p>\n\u003cp>CCA is also soliciting donations to a \u003ca href=\"https://www.givecampus.com/campaigns/8206/donations/new\">student emergency fund\u003c/a>, saying in an announcement Thursday that many students have lost off-campus part-time jobs. The fund, administered through the CCA Cares Program, is intended to address food insecurity, household needs and health and wellness support, the college announced.\u003c/p>\n\u003cp>“Students are 100-percent justified in demanding to get money back for education they’re not able to receive,” David Skolnick, an assistant professor in the writing and literature department at CCA, said in an interview. “At the same time, if everyone got their tuition back it’d mean the school goes bankrupt and we all lose our jobs. … In this situation, everyone’s losing right now.”\u003c/p>\n\u003cp>California College of the Arts, founded in the East Bay in 1907, currently enrolls some 1,850 undergraduate and graduate students of art, architecture and design. It also operates the Wattis Institute for the Contemporary Arts. Currently the college spans two campuses in Oakland and San Francisco, but is in the process of consolidating, or “unifying,” in administration parlance, around its housing and instructional facilities at the foot of Potrero Hill.\u003c/p>\n\u003cp>Underlying the petition is long-mounting frustration with the growing cost of higher education, especially at private colleges in expensive regions such as CCA, where first-year undergraduate tuition and fees run $76,671. There’s also the debt burden that students bring to an uncertain job market. “This is an expensive college, and even in a normal year students don’t necessarily feel like they’re getting their money’s worth,” said Yuri Knighten, 25, a recent illustration graduate who’s still active with CCA’s independent student union and has helped circulate Gray’s petition.\u003c/p>\n\u003cp>Knighten cautioned, however, that CCA students should balance their call for refunds with concern for the financial stability of college faculty and staff, who have \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">unionized\u003c/a> in recent years over concerns with a rising cost of living and the ongoing campus consolidation in San Francisco. For now, according to Maxey and union members, staff who cannot from home and whose presence isn’t necessary on campus will continue to receive compensation. “Having been involved with the staff and adjunction union fights, I’m thinking of how to be in solidarity,” Knighten said.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.change.org/p/howard-gillman-refund-student-housing-for-spring-quarter-at-uc-irvine\">petition\u003c/a> launched last week by Rosie Oganesian, a freshman at University of California Irvine, similarly calls for housing and meal plan refunds and tuition reductions. It has since been amended to include public colleges statewide, and has more than 7,000 signatures. UC leadership has ruled out tuition refunds, saying grades from online classes count towards the same diploma, while leaving decisions about some fees to individual college administrations.\u003c/p>\n\u003cp>UC faculty are also voicing concern about the digital pivot. “Most of us were not trained or hired to teach online courses, and online courses are not what the students enrolled and paid for,” reads an \u003ca href=\"https://docs.google.com/forms/d/16INzCI5ZR3ir0_E_Gby6WU2YYjq1JEtKGwijs5Lb66E/viewform?fbclid=IwAR1O7l09ukqoUlkhmwDp64W6Ru4YrBTNtUtc640JztFztgf61_88M3EtnJs&edit_requested=true\">open letter\u003c/a>, published Monday, with signatures from UC educators and supporters. (The letter firstly criticizes the recent firing of striking graduate students.) “The mandate is clearly to engage in ersatz education for the sake of sustaining a fiction of continuity.”\u003c/p>\n\u003cp>Class meetings are paused this week to allow faculty time to develop alternative coursework and learn new tools for remote teaching. “Zoom meetings to learn to use Zoom,” as Skolnick, the writing professor, put it. “No one believes this is a comparable learning experience,” he continued, noting the campus shutdown will most acutely affect students with a studio-based practice. “Still we now have to focus on the most basic learning outcomes, like a coherent four-page academic essay. … Other things, like oral presentation, will fall by the wayside.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We’re an art school, so this isn’t an easy change to make,” said Maxey, the CCA spokesperson. “But that also means our faculty are incredibly creative.”\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1154,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":19},"modified":1705021051,"excerpt":"Locked out of studios, “students don’t necessarily feel like they’re getting their money’s worth.”","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Locked out of studios, “students don’t necessarily feel like they’re getting their money’s worth.”","title":"Art Students Demand Tuition Refunds As Classes Go Online | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Art Students Demand Tuition Refunds As Classes Go Online","datePublished":"2020-03-19T16:33:12-07:00","dateModified":"2024-01-11T16:57:31-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"art-students-demand-tuition-refunds-as-classes-go-online","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13877073/art-students-demand-tuition-refunds-as-classes-go-online","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Thursday, 4:45 p.m.\u003c/em>\u003c/p>\n\u003cp>California College of the Arts, like most Bay Area higher-education institutions, is shifting to online classes amid shelter-in-place orders to stem transmission of the novel coronavirus, and some students want their money back. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13855321","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>California College of the Arts (CCA), along with Academy of Art University and the San Francisco Art Institute, this past week shuttered most administrative and instructional facilities, including specialized studios related to disciplines such as ceramics, welding and textiles. More than half of its residential students have left campus; largely international students stymied by travel restrictions are staying onsite, according to the college.\u003c/p>\n\u003cp>As class moves online for the rest of the semester, with studios and other resources expected to remain closed, students at CCA and other schools are questioning what they get for their tuition.\u003c/p>\n\u003cp>Echoing a similar call by University of California students, an online \u003ca href=\"https://www.change.org/p/cca-administration-give-cca-students-a-tuition-refund\">petition\u003c/a> launched Monday by CCA animation student Kym Gray for a “partial tuition refund” has garnered more than 600 signatures. Gray, 23, a junior, told KQED the campus shutdowns affect, say, printmaking and sculpture students as much as digitally-focused students without access to costly software and compatible computers. Many students, Gray said, are incurring additional expenses to continue schoolwork remotely, and some consider online instruction a diminished form of learning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gray said she’s fortunate to have scholarships and grants, and was more motivated to launch the petition by her concern for peers paying tuition out of pocket. Still, Gray depends on onsite access to digital tools she doesn’t have at home in Oakland, and knows people in fields such as ceramics and glass-blowing who’ve been forced to effectively halt important projects. “I know if I was a 3D animation student my software licenses would cost like $1,000 right now,” Gray said. “That’s part of your tuition.” She added, “I do love CCA—we just want every dollar’s worth.”\u003c/p>\n\u003cp>“We’re aware of the petition, and of similar petitions,” Brian Maxey, a CCA spokesperson, said in a statement Wednesday. “Our primary focus is on the safety and well-being of our community, followed by ensuring our students are able to continue their learning in ways that, while different than what any of us expected, still fulfill the requirements and authentic learning outcomes for them to receive credit for their classes and continue progress toward their degrees.”\u003c/p>\n\u003cp>On Thursday, after this article was published, CCA president Stephen Beal and provost Tammy Rae Carland released a statement saying students who move out of the residence halls for the rest of the semester will receive a credit for their housing costs prorated to Tuesday, March 17.\u003c/p>\n\u003cp>CCA is also soliciting donations to a \u003ca href=\"https://www.givecampus.com/campaigns/8206/donations/new\">student emergency fund\u003c/a>, saying in an announcement Thursday that many students have lost off-campus part-time jobs. The fund, administered through the CCA Cares Program, is intended to address food insecurity, household needs and health and wellness support, the college announced.\u003c/p>\n\u003cp>“Students are 100-percent justified in demanding to get money back for education they’re not able to receive,” David Skolnick, an assistant professor in the writing and literature department at CCA, said in an interview. “At the same time, if everyone got their tuition back it’d mean the school goes bankrupt and we all lose our jobs. … In this situation, everyone’s losing right now.”\u003c/p>\n\u003cp>California College of the Arts, founded in the East Bay in 1907, currently enrolls some 1,850 undergraduate and graduate students of art, architecture and design. It also operates the Wattis Institute for the Contemporary Arts. Currently the college spans two campuses in Oakland and San Francisco, but is in the process of consolidating, or “unifying,” in administration parlance, around its housing and instructional facilities at the foot of Potrero Hill.\u003c/p>\n\u003cp>Underlying the petition is long-mounting frustration with the growing cost of higher education, especially at private colleges in expensive regions such as CCA, where first-year undergraduate tuition and fees run $76,671. There’s also the debt burden that students bring to an uncertain job market. “This is an expensive college, and even in a normal year students don’t necessarily feel like they’re getting their money’s worth,” said Yuri Knighten, 25, a recent illustration graduate who’s still active with CCA’s independent student union and has helped circulate Gray’s petition.\u003c/p>\n\u003cp>Knighten cautioned, however, that CCA students should balance their call for refunds with concern for the financial stability of college faculty and staff, who have \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">unionized\u003c/a> in recent years over concerns with a rising cost of living and the ongoing campus consolidation in San Francisco. For now, according to Maxey and union members, staff who cannot from home and whose presence isn’t necessary on campus will continue to receive compensation. “Having been involved with the staff and adjunction union fights, I’m thinking of how to be in solidarity,” Knighten said.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.change.org/p/howard-gillman-refund-student-housing-for-spring-quarter-at-uc-irvine\">petition\u003c/a> launched last week by Rosie Oganesian, a freshman at University of California Irvine, similarly calls for housing and meal plan refunds and tuition reductions. It has since been amended to include public colleges statewide, and has more than 7,000 signatures. UC leadership has ruled out tuition refunds, saying grades from online classes count towards the same diploma, while leaving decisions about some fees to individual college administrations.\u003c/p>\n\u003cp>UC faculty are also voicing concern about the digital pivot. “Most of us were not trained or hired to teach online courses, and online courses are not what the students enrolled and paid for,” reads an \u003ca href=\"https://docs.google.com/forms/d/16INzCI5ZR3ir0_E_Gby6WU2YYjq1JEtKGwijs5Lb66E/viewform?fbclid=IwAR1O7l09ukqoUlkhmwDp64W6Ru4YrBTNtUtc640JztFztgf61_88M3EtnJs&edit_requested=true\">open letter\u003c/a>, published Monday, with signatures from UC educators and supporters. (The letter firstly criticizes the recent firing of striking graduate students.) “The mandate is clearly to engage in ersatz education for the sake of sustaining a fiction of continuity.”\u003c/p>\n\u003cp>Class meetings are paused this week to allow faculty time to develop alternative coursework and learn new tools for remote teaching. “Zoom meetings to learn to use Zoom,” as Skolnick, the writing professor, put it. “No one believes this is a comparable learning experience,” he continued, noting the campus shutdown will most acutely affect students with a studio-based practice. “Still we now have to focus on the most basic learning outcomes, like a coherent four-page academic essay. … Other things, like oral presentation, will fall by the wayside.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re an art school, so this isn’t an easy change to make,” said Maxey, the CCA spokesperson. “But that also means our faculty are incredibly creative.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13877073/art-students-demand-tuition-refunds-as-classes-go-online","authors":["11091"],"categories":["arts_1","arts_835","arts_235","arts_70"],"tags":["arts_5936","arts_10126","arts_10278","arts_746","arts_596","arts_4213"],"featImg":"arts_13877081","label":"arts"},"arts_13876893":{"type":"posts","id":"arts_13876893","meta":{"index":"posts_1716263798","site":"arts","id":"13876893","score":null,"sort":[1584543657000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1584543657,"format":"standard","title":"Emergency Funds for Freelancers, Creatives Losing Income During Coronavirus","headTitle":"Emergency Funds for Freelancers, Creatives Losing Income During Coronavirus | KQED","content":"\u003cp>\u003cem>This story was originally published on March 18, 2020 and updated on April 17 and May 18.\u003c/em>\u003c/p>\n\u003cp>For many, slowing the spread of coronavirus means stopping work entirely—and losing months of income.\u003c/p>\n\u003cp>[aside postID='arts_13876535,arts_13876314,arts_13876849' label='Livelihoods on the line']With the passing of \u003ca href=\"https://www.kqed.org/news/11774025/which-jobs-will-be-impacted-by-ab-5-californias-landmark-employment-measure\" target=\"_blank\" rel=\"noopener noreferrer\">AB 5\u003c/a>, California moved to extend employee protections to freelancers this year, but many creative professionals still work for themselves and don’t have typical salaried-worker safety nets like extended sick leave. Some self-employed people will not qualify for \u003ca href=\"https://www.edd.ca.gov/about_edd/coronavirus-2019.htm\" target=\"_blank\" rel=\"noopener noreferrer\">unemployment insurance\u003c/a>, particularly artists who rely on informal, direct cash payments or practice without a business license.\u003c/p>\n\u003cp>With those challenges in mind, we’ve rounded up a list of mutual aid funds that distribute emergency grants to artists, creative professionals and freelancers facing financial hardships.\u003c/p>\n\u003cp>Most of these funds also accept donations—many of which are tax deductible—from those among us who are more fortunate and looking to help. We also encourage you to donate directly to the low-income artists, service workers and freelancers in your community via PayPal, Cash App or Venmo.\u003c/p>\n\u003ch2>Funds for Creatives of All Disciplines\u003c/h2>\n\u003cp>\u003ca href=\"https://www.cciarts.org/EastBayOaklandRelief.htm\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay/Oakland Relief Fund for Individuals in the Arts\u003c/a>\u003cbr>\nThe City of Oakland and several private funders have partnered on a relief fund for artists and cultural and nonprofit workers living in Alameda and Contra Costa Counties. The fund, totaling $625,000, distributes individual grants of up to $2,000. The Center for Cultural Innovation is administering the grants. To be eligible, individuals most not receive state unemployment insurance and cannot have a conflict of interest (familial or financial) with the Center for Cultural Innovation or any funders. Black, Indigenous, Latinx, immigrant and trans people and those with disabilities will be prioritized for the distribution of funds. Applications are due on June 5.\u003c/p>\n\u003cp>\u003ca href=\"http://2727.today/news\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 Relief for Bay Area Artists\u003c/a>\u003cbr>\nThe art space 2727 California Street and The Hellerstein Foundation are giving out a limited number of $1,500 grants to Bay Area artists who’ve lost significant income due to the pandemic. People who’ve been sick with COVID-19, are caregivers, are ineligible for government benefits or are part of minority communities disproportionately impacted by the virus are prioritized. The Hellerstein Foundation is matching community contributions to the fund, which is accepting \u003ca href=\"https://charity.gofundme.com/o/en/campaign/covid-19-relief-for-bay-area-arts\" target=\"_blank\" rel=\"noopener noreferrer\">donations\u003c/a>. Grant applications are due May 22.\u003c/p>\n\u003cp>\u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Relief Fund\u003c/a>\u003cbr>\nOpen to Berkeley residents, the Berkeley Relief Fund gives out grants of $10,000 to \u003ca href=\"https://www.cityofberkeley.info/covid19-business-grants/\" target=\"_blank\" rel=\"noopener noreferrer\">small businesses\u003c/a>, $25,000 to \u003ca href=\"https://www.cityofberkeley.info/covid19-arts-grants/\" target=\"_blank\" rel=\"noopener noreferrer\">arts nonprofits\u003c/a> and up to $15,000 to \u003ca href=\"https://www.cityofberkeley.info/covid19-housing-retention/\" target=\"_blank\" rel=\"noopener noreferrer\">individuals and families\u003c/a> in danger of losing their permanent housing. There is no specific grant for artists, but those who are renters may qualify for the housing retention grant. The City of Berkeley allocated $3 million for these grants and is hoping to match that amount with \u003ca href=\"https://www.ebcf.org/donate/donate-to-berkeley-relief-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">donations\u003c/a> from the community.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cciarts.org/EmergencyRelief.htm\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Arts & Artists Relief Fund\u003c/a>\u003cbr>\nThe San Francisco Arts Commission and Grants for the Arts launched a $1.5 million relief fund for individual artists and small arts organizations. It is not limited by artistic discipline, and individuals who are full-time residents of San Francisco and not eligible for unemployment can qualify. San Francisco-based organizations with operating budgets of under $2 million can also apply.\u003c/p>\n\u003cp>\u003ca href=\"https://medium.com/@safetynet/the-safety-net-fund-20040273d291\" target=\"_blank\" rel=\"noopener noreferrer\">The Safety Net Fund \u003c/a>\u003cbr>\nThe Safety Net Fund is offering financial support to artists who typically make their living offline, at in-person events and performances. To qualify, you must reside in the Bay Area (or near it, as some San Joaquin and Santa Cruz county zip codes are eligible), must provide proof of an artistic endeavor in the last six months, cannot be eligible for unemployment insurance from the state, and must have earned less than $1,000 of income in the last 30 days.\u003c/p>\n\u003cp>\u003ca href=\"https://creatorfund.ck.page/\" target=\"_blank\" rel=\"noopener noreferrer\">The Creator Fund\u003c/a>\u003cbr>\nThe Creator Fund from the email marketing company ConvertKit is offering financial assistance of up to $500 for artists and small business owners—the term “creator” is loosely defined. The mini grants can be used for groceries, childcare, rent, mortgage or medical expenses. On its website, the Creator Fund is realistic about its limitations to meet everyone’s needs, but still encourages people to apply.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gofundme.com/f/bay-area-emergency-fund-artistsevent-production?member=3901878\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Emergency Fund: Artists/Event Production\u003c/a>\u003cbr>\nThis fund for artists and event producers who make their living from live events is accepting donations, but so far doesn’t have an application process available. When the application goes live, it will require bank statements and proof of an event cancellation that resulted in loss of income. This is a need-based grant; those who need help with rent, medical care, utility bills and childcare will be prioritized.\u003c/p>\n\u003ch2>Funds for Performing Artists, Film and Television\u003c/h2>\n\u003cp>\u003ca href=\"https://www.theatrebayarea.org/page/COVID-19relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 Performing Arts Worker Relief Fund\u003c/a>\u003cbr>\nTheatre Bay Area organized a fund for theater workers facing a sudden loss of income due to coronavirus. While its website doesn’t specify how much aid is available, they encourage those seeking support to email to apply.\u003c/p>\n\u003cp>\u003ca href=\"https://actorsfund.org/services-and-programs/entertainment-assistance-program\" target=\"_blank\" rel=\"noopener noreferrer\">The Actors Fund’s Entertainment Assistance Program\u003c/a>\u003cbr>\nAny performing artist or entertainment industry professional is eligible for financial assistance from the Actors Fund as long as they either have a minimum of five years of industry experience (while making over $6,500 a year from their creative pursuit for three of those years), or 20 years of industry employment while earning at least $5,000 from it for 10 of those years. In addition to helping with rent or medical expenses, the Actors Fund offers information on affordable housing, health care services, landlord-tenant issues and more. Those interested must contact the Actors Fund directly to apply.\u003c/p>\n\u003ch2>Funds for Musicians and Nightlife Workers\u003c/h2>\n\u003cp>\u003ca href=\"https://www.thelewisprize.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Lewis Prize COVID-19 Community Response Fund\u003c/a>\u003cbr>\nMusic organizations that mentor young people may be eligible for the Lewis Prize COVID-19 Community Response Fund, which is giving out 20 grants of $25,000–$50,000 to organizations that offer what it calls “creative youth development music programs.” Grant applications open on April 20 and close on May 8, and funds will be distributed on June 16.\u003c/p>\n\u003cp>\u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The SF Queer Nightlife Fund\u003c/a>\u003cbr>\nNightlife is a cornerstone of the LGBTQ+ community, so what happens when the dancers, drag queens, DJs, musicians and bartenders who rely on in-person work can no longer do that labor? Workers in the queer nightlife scene experiencing financial hardship can apply for help with food, rent, PG&E, phone, internet and medical expenses. Applications are due March 31.\u003c/p>\n\u003cp>\u003ca href=\"http://www.musiciansfoundation.org/get-support/eligibility/\" target=\"_blank\" rel=\"noopener noreferrer\">Musicians’ Foundation Grant\u003c/a>\u003cbr>\nIf you’ve been a working musician in the United States for the last five years, the Musicians’ Foundation Grant offers grants for emergency situations like medical care or personal or family crisis. The foundation will pay recipients’ expenses directly rather than writing them a check, and grants range between $500 and $3,000.\u003c/p>\n\u003cp>\u003ca href=\"https://www.grammy.com/musicares/client-services/emergency-financial-assistance\" target=\"_blank\" rel=\"noopener noreferrer\">MusiCares Emergency Financial Assistance\u003c/a>\u003cbr>\nMusicians and music industry professionals experiencing unexpected financial hardships can apply to the Recording Academy’s MusiCares program. To be eligible, you must have a documented history as an industry professional for at least five years, or have contributed to six commercially released recordings or videos. MusiCares can fund medical costs, addiction recovery treatment, psychotherapy and basic living expenses such as rent and utilities.\u003c/p>\n\u003cp>\u003ca href=\"https://blues.org/hart-fund/#about\" target=\"_blank\" rel=\"noopener noreferrer\">The Blues Foundation HART Fund\u003c/a>\u003cbr>\nThis one is specific to blues musicians. The HART Fund offers financial assistance for health-related expenses, and artists need to call or email directly to apply.\u003c/p>\n\u003ch2>Funds for Visual Artists\u003c/h2>\n\u003cp>\u003ca href=\"https://www.gottliebfoundation.org/emergency-grant\" target=\"_blank\" rel=\"noopener noreferrer\">The Adolph & Esther Gottlieb Emergency Grant\u003c/a>\u003cbr>\nIf you’re a sculptor, printmaker or painter with over ten years of experience, the Adolph & Esther Gottlieb Emergency Grant program offers larger grants of up to $15,000 for unforeseen expenses. The application specifies that it’s a one-time grant related to a specific emergency, such as fire, flood or medical needs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nyfa.org/Content/Show/Rauschenberg-Emergency-Grants\" target=\"_blank\" rel=\"noopener noreferrer\">Rauschenberg Emergency Grants\u003c/a>\u003cbr>\nProfessional visual artists, media artists and choreographers living anywhere in the United States can apply for Rauschenberg Emergency Grants of up to $5,000 to cover unforeseen expenses. Please note that a panel reviewing the applications will begin to meet in May and June, so this program isn’t the one for those with pressing, short-term needs.\u003c/p>\n\u003cp>\u003ca href=\"https://cerfplus.org/get-relief/apply-for-help/craft-emergency-relief-fund/eligibility/\" target=\"_blank\" rel=\"noopener noreferrer\">CERF+ Artists’ Safety Net\u003c/a>\u003cbr>\nArtists working in craft disciplines—including but not limited to clay, fiber, metal, wood, glass, concrete, plastic, synthetic fibers or recycled materials—can apply for emergency grants of up to $3,000 from the Craft Emergency Relief Fund. They must demonstrate that they’ve been making a sizable portion of their living from their craft for three years, or that they’ve been involved in traditional or folk art on an ongoing basis. Artists are asked to submit an inquiry form before they can apply.\u003c/p>\n\u003cp>\u003ca href=\"https://docs.google.com/document/d/e/2PACX-1vT-SQ2GcGX4gGduGz29HuK6FgzYiCj586nd1PkrWMIj97meycTIRyQZAAX7mgmeJHHgTdl3MgeP2239/pub\" target=\"_blank\" rel=\"noopener noreferrer\">Untitled, Art Emergency Fund\u003c/a>\u003cbr>\nArtists who either graduated from a Bay Area institution or have been working in the region for at least two years can apply to the Untitled, Art Emergency Fund, which gives out $250 grants to freelance, hourly and wage-working artists. The mini grants cover basic expenses such as rent, childcare and healthcare costs, and applications are due March 31.\u003c/p>\n\u003ch2>Funds for Writers and Authors\u003c/h2>\n\u003cp>\u003ca href=\"https://authorsleaguefund.org/apply/\" target=\"_blank\" rel=\"noopener noreferrer\">Authors League Fund\u003c/a>\u003cbr>\nJournalists, playwrights, poets and authors facing sudden loss of income or unforeseen medical expenses in the United States can apply for emergency grants from the Authors League Fund. The grants, however, prioritize experienced professionals who’ve either been published by traditional publishing houses or publications with national circulation, or have had their work produced by mid-sized or large theaters. The amount of the grant is not specified, and depends on the severity of the emergency.\u003c/p>\n\u003cp>\u003ca href=\"https://pen.org/writers-emergency-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">PEN America Writers’ Emergency Fund\u003c/a>\u003cbr>\nPEN America gives out need-based grants of up to $2,000 for emergency expenses to writers and journalists, and has an additional program for those who are HIV positive. The organization expanded these programs because of coronavirus, and is giving out grants of $500–$1,000 to writers and authors who lost income due to the pandemic.\u003c/p>\n\u003ch2>Additional Funds\u003c/h2>\n\u003cp>\u003ca href=\"https://bayareaworkerssupport.org/grants\" target=\"_blank\" rel=\"noopener noreferrer\">Sex Worker ER Grant Fund\u003c/a>\u003cbr>\nSex workers who rely on in-person business can apply for $50–$200 microgrants to cover short-term expenses from Bay Area Workers Support (BAWS), a grassroots advocacy organization. BAWS also uses its social media profiles to amplify sex workers’ GoFundMe and other crowdfunding campaigns, and is accepting donations from allies.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gofundme.com/f/covid19-relief-fund-for-lgbtqi-bipoc-folks\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 Mutual Aid Fund for LGBTQI+ BIPOC Folks\u003c/a>\u003cbr>\nThis fundraiser on GoFundMe has a goal of $250,000, and organizers Amita Swadhin, Treva Ellison, Natalie Havlin, Carrie Hawks, Ren-yo Hwang and Alisa Zipursky are distributing the funds through $100 microgrants to black, indigenous and people of color in the LGBTQ+ community. The fund was created especially to help cover the living expenses of self-employed people and service workers, and isn’t limited by geographic location. Although applications for aid are closed, allies can still donate to provide additional support for grantees who have already been accepted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1854,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":29},"modified":1705021063,"excerpt":"Where to apply for, and how to support, emergency grants during coronavirus.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Where to apply for, and how to support, emergency grants during coronavirus.","title":"Emergency Funds for Freelancers, Creatives Losing Income During Coronavirus | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Emergency Funds for Freelancers, Creatives Losing Income During Coronavirus","datePublished":"2020-03-18T08:00:57-07:00","dateModified":"2024-01-11T16:57:43-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was originally published on March 18, 2020 and updated on April 17 and May 18.\u003c/em>\u003c/p>\n\u003cp>For many, slowing the spread of coronavirus means stopping work entirely—and losing months of income.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13876535,arts_13876314,arts_13876849","label":"Livelihoods on the line "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>With the passing of \u003ca href=\"https://www.kqed.org/news/11774025/which-jobs-will-be-impacted-by-ab-5-californias-landmark-employment-measure\" target=\"_blank\" rel=\"noopener noreferrer\">AB 5\u003c/a>, California moved to extend employee protections to freelancers this year, but many creative professionals still work for themselves and don’t have typical salaried-worker safety nets like extended sick leave. Some self-employed people will not qualify for \u003ca href=\"https://www.edd.ca.gov/about_edd/coronavirus-2019.htm\" target=\"_blank\" rel=\"noopener noreferrer\">unemployment insurance\u003c/a>, particularly artists who rely on informal, direct cash payments or practice without a business license.\u003c/p>\n\u003cp>With those challenges in mind, we’ve rounded up a list of mutual aid funds that distribute emergency grants to artists, creative professionals and freelancers facing financial hardships.\u003c/p>\n\u003cp>Most of these funds also accept donations—many of which are tax deductible—from those among us who are more fortunate and looking to help. We also encourage you to donate directly to the low-income artists, service workers and freelancers in your community via PayPal, Cash App or Venmo.\u003c/p>\n\u003ch2>Funds for Creatives of All Disciplines\u003c/h2>\n\u003cp>\u003ca href=\"https://www.cciarts.org/EastBayOaklandRelief.htm\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay/Oakland Relief Fund for Individuals in the Arts\u003c/a>\u003cbr>\nThe City of Oakland and several private funders have partnered on a relief fund for artists and cultural and nonprofit workers living in Alameda and Contra Costa Counties. The fund, totaling $625,000, distributes individual grants of up to $2,000. The Center for Cultural Innovation is administering the grants. To be eligible, individuals most not receive state unemployment insurance and cannot have a conflict of interest (familial or financial) with the Center for Cultural Innovation or any funders. Black, Indigenous, Latinx, immigrant and trans people and those with disabilities will be prioritized for the distribution of funds. Applications are due on June 5.\u003c/p>\n\u003cp>\u003ca href=\"http://2727.today/news\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 Relief for Bay Area Artists\u003c/a>\u003cbr>\nThe art space 2727 California Street and The Hellerstein Foundation are giving out a limited number of $1,500 grants to Bay Area artists who’ve lost significant income due to the pandemic. People who’ve been sick with COVID-19, are caregivers, are ineligible for government benefits or are part of minority communities disproportionately impacted by the virus are prioritized. The Hellerstein Foundation is matching community contributions to the fund, which is accepting \u003ca href=\"https://charity.gofundme.com/o/en/campaign/covid-19-relief-for-bay-area-arts\" target=\"_blank\" rel=\"noopener noreferrer\">donations\u003c/a>. Grant applications are due May 22.\u003c/p>\n\u003cp>\u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Relief Fund\u003c/a>\u003cbr>\nOpen to Berkeley residents, the Berkeley Relief Fund gives out grants of $10,000 to \u003ca href=\"https://www.cityofberkeley.info/covid19-business-grants/\" target=\"_blank\" rel=\"noopener noreferrer\">small businesses\u003c/a>, $25,000 to \u003ca href=\"https://www.cityofberkeley.info/covid19-arts-grants/\" target=\"_blank\" rel=\"noopener noreferrer\">arts nonprofits\u003c/a> and up to $15,000 to \u003ca href=\"https://www.cityofberkeley.info/covid19-housing-retention/\" target=\"_blank\" rel=\"noopener noreferrer\">individuals and families\u003c/a> in danger of losing their permanent housing. There is no specific grant for artists, but those who are renters may qualify for the housing retention grant. The City of Berkeley allocated $3 million for these grants and is hoping to match that amount with \u003ca href=\"https://www.ebcf.org/donate/donate-to-berkeley-relief-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">donations\u003c/a> from the community.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cciarts.org/EmergencyRelief.htm\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Arts & Artists Relief Fund\u003c/a>\u003cbr>\nThe San Francisco Arts Commission and Grants for the Arts launched a $1.5 million relief fund for individual artists and small arts organizations. It is not limited by artistic discipline, and individuals who are full-time residents of San Francisco and not eligible for unemployment can qualify. San Francisco-based organizations with operating budgets of under $2 million can also apply.\u003c/p>\n\u003cp>\u003ca href=\"https://medium.com/@safetynet/the-safety-net-fund-20040273d291\" target=\"_blank\" rel=\"noopener noreferrer\">The Safety Net Fund \u003c/a>\u003cbr>\nThe Safety Net Fund is offering financial support to artists who typically make their living offline, at in-person events and performances. To qualify, you must reside in the Bay Area (or near it, as some San Joaquin and Santa Cruz county zip codes are eligible), must provide proof of an artistic endeavor in the last six months, cannot be eligible for unemployment insurance from the state, and must have earned less than $1,000 of income in the last 30 days.\u003c/p>\n\u003cp>\u003ca href=\"https://creatorfund.ck.page/\" target=\"_blank\" rel=\"noopener noreferrer\">The Creator Fund\u003c/a>\u003cbr>\nThe Creator Fund from the email marketing company ConvertKit is offering financial assistance of up to $500 for artists and small business owners—the term “creator” is loosely defined. The mini grants can be used for groceries, childcare, rent, mortgage or medical expenses. On its website, the Creator Fund is realistic about its limitations to meet everyone’s needs, but still encourages people to apply.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gofundme.com/f/bay-area-emergency-fund-artistsevent-production?member=3901878\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Emergency Fund: Artists/Event Production\u003c/a>\u003cbr>\nThis fund for artists and event producers who make their living from live events is accepting donations, but so far doesn’t have an application process available. When the application goes live, it will require bank statements and proof of an event cancellation that resulted in loss of income. This is a need-based grant; those who need help with rent, medical care, utility bills and childcare will be prioritized.\u003c/p>\n\u003ch2>Funds for Performing Artists, Film and Television\u003c/h2>\n\u003cp>\u003ca href=\"https://www.theatrebayarea.org/page/COVID-19relief-fund\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 Performing Arts Worker Relief Fund\u003c/a>\u003cbr>\nTheatre Bay Area organized a fund for theater workers facing a sudden loss of income due to coronavirus. While its website doesn’t specify how much aid is available, they encourage those seeking support to email to apply.\u003c/p>\n\u003cp>\u003ca href=\"https://actorsfund.org/services-and-programs/entertainment-assistance-program\" target=\"_blank\" rel=\"noopener noreferrer\">The Actors Fund’s Entertainment Assistance Program\u003c/a>\u003cbr>\nAny performing artist or entertainment industry professional is eligible for financial assistance from the Actors Fund as long as they either have a minimum of five years of industry experience (while making over $6,500 a year from their creative pursuit for three of those years), or 20 years of industry employment while earning at least $5,000 from it for 10 of those years. In addition to helping with rent or medical expenses, the Actors Fund offers information on affordable housing, health care services, landlord-tenant issues and more. Those interested must contact the Actors Fund directly to apply.\u003c/p>\n\u003ch2>Funds for Musicians and Nightlife Workers\u003c/h2>\n\u003cp>\u003ca href=\"https://www.thelewisprize.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Lewis Prize COVID-19 Community Response Fund\u003c/a>\u003cbr>\nMusic organizations that mentor young people may be eligible for the Lewis Prize COVID-19 Community Response Fund, which is giving out 20 grants of $25,000–$50,000 to organizations that offer what it calls “creative youth development music programs.” Grant applications open on April 20 and close on May 8, and funds will be distributed on June 16.\u003c/p>\n\u003cp>\u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The SF Queer Nightlife Fund\u003c/a>\u003cbr>\nNightlife is a cornerstone of the LGBTQ+ community, so what happens when the dancers, drag queens, DJs, musicians and bartenders who rely on in-person work can no longer do that labor? Workers in the queer nightlife scene experiencing financial hardship can apply for help with food, rent, PG&E, phone, internet and medical expenses. Applications are due March 31.\u003c/p>\n\u003cp>\u003ca href=\"http://www.musiciansfoundation.org/get-support/eligibility/\" target=\"_blank\" rel=\"noopener noreferrer\">Musicians’ Foundation Grant\u003c/a>\u003cbr>\nIf you’ve been a working musician in the United States for the last five years, the Musicians’ Foundation Grant offers grants for emergency situations like medical care or personal or family crisis. The foundation will pay recipients’ expenses directly rather than writing them a check, and grants range between $500 and $3,000.\u003c/p>\n\u003cp>\u003ca href=\"https://www.grammy.com/musicares/client-services/emergency-financial-assistance\" target=\"_blank\" rel=\"noopener noreferrer\">MusiCares Emergency Financial Assistance\u003c/a>\u003cbr>\nMusicians and music industry professionals experiencing unexpected financial hardships can apply to the Recording Academy’s MusiCares program. To be eligible, you must have a documented history as an industry professional for at least five years, or have contributed to six commercially released recordings or videos. MusiCares can fund medical costs, addiction recovery treatment, psychotherapy and basic living expenses such as rent and utilities.\u003c/p>\n\u003cp>\u003ca href=\"https://blues.org/hart-fund/#about\" target=\"_blank\" rel=\"noopener noreferrer\">The Blues Foundation HART Fund\u003c/a>\u003cbr>\nThis one is specific to blues musicians. The HART Fund offers financial assistance for health-related expenses, and artists need to call or email directly to apply.\u003c/p>\n\u003ch2>Funds for Visual Artists\u003c/h2>\n\u003cp>\u003ca href=\"https://www.gottliebfoundation.org/emergency-grant\" target=\"_blank\" rel=\"noopener noreferrer\">The Adolph & Esther Gottlieb Emergency Grant\u003c/a>\u003cbr>\nIf you’re a sculptor, printmaker or painter with over ten years of experience, the Adolph & Esther Gottlieb Emergency Grant program offers larger grants of up to $15,000 for unforeseen expenses. The application specifies that it’s a one-time grant related to a specific emergency, such as fire, flood or medical needs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nyfa.org/Content/Show/Rauschenberg-Emergency-Grants\" target=\"_blank\" rel=\"noopener noreferrer\">Rauschenberg Emergency Grants\u003c/a>\u003cbr>\nProfessional visual artists, media artists and choreographers living anywhere in the United States can apply for Rauschenberg Emergency Grants of up to $5,000 to cover unforeseen expenses. Please note that a panel reviewing the applications will begin to meet in May and June, so this program isn’t the one for those with pressing, short-term needs.\u003c/p>\n\u003cp>\u003ca href=\"https://cerfplus.org/get-relief/apply-for-help/craft-emergency-relief-fund/eligibility/\" target=\"_blank\" rel=\"noopener noreferrer\">CERF+ Artists’ Safety Net\u003c/a>\u003cbr>\nArtists working in craft disciplines—including but not limited to clay, fiber, metal, wood, glass, concrete, plastic, synthetic fibers or recycled materials—can apply for emergency grants of up to $3,000 from the Craft Emergency Relief Fund. They must demonstrate that they’ve been making a sizable portion of their living from their craft for three years, or that they’ve been involved in traditional or folk art on an ongoing basis. Artists are asked to submit an inquiry form before they can apply.\u003c/p>\n\u003cp>\u003ca href=\"https://docs.google.com/document/d/e/2PACX-1vT-SQ2GcGX4gGduGz29HuK6FgzYiCj586nd1PkrWMIj97meycTIRyQZAAX7mgmeJHHgTdl3MgeP2239/pub\" target=\"_blank\" rel=\"noopener noreferrer\">Untitled, Art Emergency Fund\u003c/a>\u003cbr>\nArtists who either graduated from a Bay Area institution or have been working in the region for at least two years can apply to the Untitled, Art Emergency Fund, which gives out $250 grants to freelance, hourly and wage-working artists. The mini grants cover basic expenses such as rent, childcare and healthcare costs, and applications are due March 31.\u003c/p>\n\u003ch2>Funds for Writers and Authors\u003c/h2>\n\u003cp>\u003ca href=\"https://authorsleaguefund.org/apply/\" target=\"_blank\" rel=\"noopener noreferrer\">Authors League Fund\u003c/a>\u003cbr>\nJournalists, playwrights, poets and authors facing sudden loss of income or unforeseen medical expenses in the United States can apply for emergency grants from the Authors League Fund. The grants, however, prioritize experienced professionals who’ve either been published by traditional publishing houses or publications with national circulation, or have had their work produced by mid-sized or large theaters. The amount of the grant is not specified, and depends on the severity of the emergency.\u003c/p>\n\u003cp>\u003ca href=\"https://pen.org/writers-emergency-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">PEN America Writers’ Emergency Fund\u003c/a>\u003cbr>\nPEN America gives out need-based grants of up to $2,000 for emergency expenses to writers and journalists, and has an additional program for those who are HIV positive. The organization expanded these programs because of coronavirus, and is giving out grants of $500–$1,000 to writers and authors who lost income due to the pandemic.\u003c/p>\n\u003ch2>Additional Funds\u003c/h2>\n\u003cp>\u003ca href=\"https://bayareaworkerssupport.org/grants\" target=\"_blank\" rel=\"noopener noreferrer\">Sex Worker ER Grant Fund\u003c/a>\u003cbr>\nSex workers who rely on in-person business can apply for $50–$200 microgrants to cover short-term expenses from Bay Area Workers Support (BAWS), a grassroots advocacy organization. BAWS also uses its social media profiles to amplify sex workers’ GoFundMe and other crowdfunding campaigns, and is accepting donations from allies.\u003c/p>\n\u003cp>\u003ca href=\"https://www.gofundme.com/f/covid19-relief-fund-for-lgbtqi-bipoc-folks\" target=\"_blank\" rel=\"noopener noreferrer\">COVID-19 Mutual Aid Fund for LGBTQI+ BIPOC Folks\u003c/a>\u003cbr>\nThis fundraiser on GoFundMe has a goal of $250,000, and organizers Amita Swadhin, Treva Ellison, Natalie Havlin, Carrie Hawks, Ren-yo Hwang and Alisa Zipursky are distributing the funds through $100 microgrants to black, indigenous and people of color in the LGBTQ+ community. The fund was created especially to help cover the living expenses of self-employed people and service workers, and isn’t limited by geographic location. Although applications for aid are closed, allies can still donate to provide additional support for grantees who have already been accepted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus","authors":["11387"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_10126","arts_10127","arts_1118","arts_10278","arts_10758","arts_4213"],"featImg":"arts_13877021","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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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":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","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","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"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. 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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. 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