A8
THE ASTORIAN • TUESDAY, MARCH 30, 2021
Night market: May include
food carts and small-scale
acoustic live entertainment
Continued from Page A1
Carr runs her boutique in the
Astoria Underground, a mall in the
basement of the Sanborn Build-
ing on the corner of 10th Street
and Marine Drive. The mall, mod-
eled by late artist Michael Foster
to look like an old Astoria street-
scape, has attracted an eclec-
tic group of businesses, includ-
ing Carr’s shop, Kit’s Apothecary,
the gift store Foragers and Astoria
Barber Co.
Four art galleries have opened
in the Sanborn Building along
10th Street, including Paul Pol-
son Gallery, Angi D Wildt Gallery
and West Coast Artisans. Artist Jill
McVarish is rebranding the Secret
Gallery, which closed earlier this
month, into The McVarish Gallery
+ Secret Gallery Printing.
“The businesses in this area, on
that outskirts of town, have such
a hard time getting people down
there, and establishing the area as
part of the downtown,” Carr said.
Carr said the night market
could include food carts and some
sort of small-scale acoustic live
entertainment. She doesn’t expect
attendance to reach levels seen at
the Astoria Sunday Market, which
can draw large crowds . The Freak
Show, a circus and interactive art
exhibit held by the Secret Gallery
in spring 2019, drew between 400
and 500 people, she said.
The night market would coin-
cide with Second Saturday Art
Walk. But Carr said it would
bring a new demographic into
town, accentuating rather than
taking away any foot traffi c from
galleries.
The transit district’s board gave
tentative approval for Jeff Hazen,
the district’s executive director, to
negotiate a parking lot rental for a
night market. Some board mem-
bers expressed concern that Octo-
ber could be too soon, depending
on any surges with the virus.
Carr, who still needs a right-
of-way permit from the city, said
the October date is preliminary
and could be postponed to a sub-
sequent market in July. Hazen said
that if the market went forward,
there would be transit staff on hand
enforcing mask requirements.
Goldstick: ‘I was shocked to fi nd
out how good it was in Seaside’
Continued from Page A1
“I don’t know how much
it aff ected me, but I know that
whatever it was, I stayed with it,”
he said. “I liked it. I think it was
just in my blood.”
Goldstick played for high
school musicals and weddings,
and in jazz bands while study-
ing chemical engineering at
Penn State University. Engineer-
ing paid the bills through most
of his 20s, allowing him to care
for his family and play piano bars
around Philadelphia at night.
In his late 20s, Goldstick
worked for Mobil in New York
City until faced with transferring
to New Jersey. Instead, he took
a severance package and started
driving a cab by day and playing
in bars and bands by night.
“There were piano bars all
over the place,” he said of 1970s
New York City. “And for a piano
player, it was the easiest way to
make money. And since I already
had a family, it was an obvi-
ous choice for me. You play in a
band, you make $50. You play in
a piano bar, and you make $100
or $150.”
Over a half a century of shows,
Goldstick has played gigs from
Hollywood musicals to elemen-
tary schools, and in bars across
the U.S. From 1988 to 2001, he
played at the actor Clint East-
wood’s Mission Ranch in Car-
mel, California. Goldstick relo-
cated from Seattle to Seaside
in 2014 and started busking on
Broadway and at the Astoria Sun-
day Market.
“I was shocked to fi nd out how
good it was in Seaside,” he said.
“I had no idea, as far as busking.
I made $20 in my fi rst hour on a
Monday night.”
By 1993, Goldstick had found
his passion playing for the elderly
in nursing homes, including Clat-
sop Care Center. His last gig
was in February 2020 in Port-
land before everything shut down
amid the pandemic.
Goldstick fi rst learned about
online gigs through a roommate
who played in a band on the vir-
tual world Second Life. Gold-
stick created a Twitch account
and amassed around 1,700 fol-
lowers from around the world, he
said, but quit after being hacked
and facing some anti-Semitic
remarks.
“It was fun,” he said. “I got
people from Turkey and Russia
that were watching. It was a trip
to have that opportunity, but it’s
just not worth it.”
In the coming weeks, Gold-
stick plans to start playing at
1 p.m. from Monday through
Friday on his YouTube channel,
“Bob Goldstick — Live Stream-
ing Shows,” and partnering with a
local vocalist, Harper Carr. He’ll
set up speakers outside the studio
for people in the Astoria U nder-
ground. But Goldstick’s driving
force with the performances is
getting his music back into nurs-
ing homes, if only online.
“There’s no feeling as a musi-
cian … close to what I get when I
play at a nursing home,” he said.
“And that’s why this year has
been so tough in a way. The reac-
tion of the people to the music is
just — it’s just amazing.”
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County reports three new virus cases
The Astorian
Clatsop County on Monday reported three
new coronavirus cases.
The cases involve a female between 10 and 19,
a woman in her 40s and a woman in her 50s living
in the southern part of the county.
All three were recovering at home.
A man in his 60s living in the southern part of
the county who was reported to test positive on
Friday has been hospitalized.
The county has recorded 834 cases since the
start of the pandemic. According to the county, 19
were hospitalized and seven have died.
Relief: ‘We’re used to being scrappy’
Continued from Page A1
organizations virus relief grants
after a year of closures and lost
revenue.
Artist relief
The arts commission distributed
$1.25 million in grants to 646 art-
ists throughout the state, benefi t-
ing over a dozen locally. The pro-
gram’s recipients were selected out
of 1,158 applicants, who reported
more than $18 million in revenue
loss.
Local a rtists selected include
Oscar de’ Masi, Audrey Long,
Gabrielle Macrae, Kirista Trask
and Myshkin Warbler, of Astoria;
Julie Adams, of Cannon Beach;
Lisa Sofi a Robinson, of Seaside;
James Crowe and Jen Crowe, of
Warrenton; M.J. Anderson, Deb-
orah DeWit and Reeva Wortel,
of Nehalem; and Julie Yanko, of
Manzanita.
The a rtists received grants
between $1,000 and $5,000. The
funds will help artists pay for mate-
rials and other necessary costs.
“(The award) came at a very
dark time,” said Patricia de’ Masi,
co-owner of Oscar de’ Masi Art
Gallery in Astoria. “The pandemic
was like a rug got pulled out from
not just us but everybody. (This)
was a beacon of hope for us … It
was critical, frankly, in our survival
of the pandemic as a gallery but
also as an individual artist for Oscar
to continue creating and buying art
supplies.”
A group of 29 panelists reviewed
the artist relief fund applications,
including Crockett and Jessamyn
Grace West, the executive director
of the Astoria Arts and Movement
Center.
“It was really equal parts heart-
breaking and inspiring,” Crock-
ett said. “(It was) heartbreaking
because these are folks that hav-
en’t been able to do their job in a
year, do their passion in a year —
or they’ve had to make signifi cant
changes or purchase new equip-
ment they weren’t planning on.”
Artists’ eff orts to adapt during
the pandemic inspired Crockett.
“I always think of musicians and
performers as the grass that grows
in between the sidewalk. We’re
used to being scrappy,” Crockett
said. “There is some grief in not
being able to perform in the way
that we’re used to but there’s a
lot of adaption. I wasn’t surprised
by it but it’s also heartbreaking
because a lot were struggling with
paying rents, buying food, getting
unemployment. It’s kind of a dou-
ble-edged sword.”
West read over 200 applica-
Hailey Hoff man/The Astorian
Charlene Larsen pulls back the curtains to one of the Charlene Larsen
Center for the Performing Arts’ many stained-glass windows. The center
received relief funding through a grant from the Oregon Arts Commission.
tions sent in by dancers and dance
organizations.
“There was not a single one that
did not move me. I was reading
some very personal stories about
how artists have been fi nancially,
physically impacted by not being
able to continue work as an artist,
to continue to refi ne their craft as an
artist, not being able to perform,”
West said.
Operational support
Local recipients for small oper-
ating grants include Astoria Arts
and Movement Center, Cannon
Beach Arts Association, Cascadia
Concert Opera/Cascadia Cham-
ber Opera, Hoff man Center for the
Arts, North Coast Chorale, Partners
for the PAC and Tolovana Arts Col-
ony. Each group received $1,159
and must have an annual budget
under $150,000.
The grants are distributed annu-
ally and help organizations pay for
operating expenses like rent and
utilities.
At the Charlene Larsen Center
for the Performing Arts, the grant
goes directly toward managing the
center, said Bereniece Jones-Cen-
teno, the executive director of Part-
ners for the PAC. The money funds
advertising, daily operations and
making facility improvements and
repairs.
“There’s so much more expenses
than people understand. Often folks
think, ‘Just get a grant for that.’ …
There are a lot of us going after the
funds,” Jones-Centeno said. “For
our tiny town of Astoria, we have
fi ve theaters. It’s amazing that we
even get the support from (Oregon
Arts Commission ) because they
have Portland, Eugene and state-
wide groups to deal with. We do
really have to rely on our neighbors
to support us.”
Partners for the PAC relies on
fundraising events to support its
annual operating costs. The center
hasn’t hosted any events since clos-
ing in March 2020.
“Without that source of support,
it makes you nervous because that’s
what keeps the water on, what keeps
the building warm,” Jones-Cen-
teno said. “We can’t do events with
a cold building. Support helps us
keep the building warm. That sup-
port is more important this year.”
The Astoria Arts and Movement
Center has received a small oper-
ating grant annually from the arts
commission since 2018.
“For a small operation like ours,
funding that can be used for basic
expenses like utilities is instrumen-
tal in our survival,” West said. “A
lot of grants are project-based and
while that’s really wonderful and
important, you have a lot of organi-
zations that aren’t even able to off er
projects if they can’t essentially pay
for their space.”
West said the arts commission
“literally can be the diff erence in
how an organization can survive,
especially in its early stages.”
The Liberty Theatre received an
operating support grant of $3,719.
The funds mainly cover payroll
expenses, Crockett said. The theater
furloughed staff after the theater
closed in March 2020. Since then,
staff have come back to working
at the theater. The theater recently
hired another full-time employee.
“It helps off set the cost of just
the running of the theater. It off -
sets the cost of the work that we do
in the community,” Crockett said.
“As an economic generator for the
area, before COVID, we supported
three full-timers and fi ve part-tim-
ers. These are local jobs in the area
and people that contribute to the
economy.”
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