San Diego, CA
Analysis: Will Grammy Awards strike right or wrong note in fire-wracked Los Angeles?
The show will go on for the 2025 Grammy Awards in fire-ravaged Los Angeles, where Beyoncé, Taylor Swift and Kendrick Lamar are among the top nominees. But should it?
There are no easy answers to this question. The issues it brings up have been increasingly pondered since the Jan. 13 announcement that the 67th edition of the Grammys will take place as scheduled on Sunday, Feb. 2 — and that the telecast is being revamped to raise funds for wildfire relief efforts and pay tribute to first responders.
That is a noble goal for the Recording Academy — under whose auspices the music industry’s most diverse and prestigious annual awards fete is held — following the unimaginably horrific destruction its host city has suffered this month.
But how challenging will it be to celebrate what has long been billed as “music’s biggest night” and to honor musicians at a time when so many in Los Angeles now find themselves struggling, homeless, bereft, or some combination of all three?
And how open to celebrating will Beyoncé, Swift and the other presumed winners be, let alone the untold number of Los Angeles area music-industry professionals who suddenly find themselves unemployed because the recording studios, music venues and other places of work have been shuttered or destroyed?
The possible answers are difficult to quantify — and have stoked speculation and controversy — as multiple fires continue to burn in and near Los Angeles County, while much needed rainfall is possible this weekend.
In a Jan. 15 statement, Recording Academy CEO/President Harvey Mason Jr. acknowledged the gravity of the situation so many in and around Los Angeles are facing. The same statement announced that all but a handful of the academy’s annual Grammy week events are being canceled this year.
‘The power of music’
“We understand how devastating this past week has been on this city and its people,” said Mason, who has been a powerful agent of positive change at the academy.
“This is our home, it’s home to thousands of music professionals, and many of us have been negatively impacted. So, after thoughtful consideration and multiple assurances from state and local elected leaders, public safety agencies and with support from our incredible artist community, we have decided to go ahead with the Grammy telecast and some select events. Grammy Week 2025 will not just be about honoring music, it will be about using the power of music to help rebuild, uplift and support those in need.”
That is admirable, certainly. And the Recording Academy has — through its MusiCares charity organization — raised more than $100 million to provide assistance to musicians and other music-industry workers facing financial, medical and personal hardships, including addiction recovery and disaster relief.
This year’s all-star MusiCares fundraising concert on Friday, Jan. 31, at the Los Angeles Convention Center will salute the band the Grateful Dead. It, too, is being revamped with the goal of raising even more money for fire victims.
The Recording Academy and MusiCares have thus far raised and pledged more than $2 million in emergency aid to members of the music community affected by the wildfires, following the launch of the organizations’ Los Angeles Fire Relief Effort to Support Music Professionals.
But the academy appears to be stuck between a rock and a hard place when it comes to this year’s Grammy Awards. And the decision to adapt what it calls a “condensed” schedule of 2025 Grammy week events came a day after — not before — Spotify, Billboard magazine and such major record companies as Sony, Universal, BMG and Warner Music Group all announced they were canceling their annual Grammy week events out of deference for the victims of the wildfires.
One of the first companies to cancel its 2025 Grammy party was Milk & Honey Management, which has offices in Los Angeles, Nashville, New York, Dallas, London and Sydney.
“It would be tone deaf to celebrate and I hope all other companies will follow suit,” said Milk & Honey Founder/President Lucas Keller in an Instagram post.
It’s important to note that Keller was referring to Grammy parties being “tone deaf,” not the Grammy telecast itself. But the bigger issue comes down to a simple — and, apparently, complex — matter of timing.
This month has seen the announcement of the 2025 Oscars nominees pushed back several times until today, while the Oscars telecast is still set to take place as scheduled — more than a month from now — on March 2. Other annual Hollywood events celebrating the film industry have been postponed “until further notice,” or canceled altogether, along with some film and TV premieres. But the Grammy Awards are not being pushed back.
Beyoncé prays ‘for healing’
On Jan. 13, Beyoncé — who this year has a field-leading 11 Grammy nominations — announced her foundation’s donation of $2.5 million to the LA Fire Relief Fund. She also postponed a major announcement that had been scheduled for the same day (most likely regarding a new concert tour in support of her groundbreaking “Cowboy Carter” album).
In a statement on social media, Beyoncé attributed her postponement to the “devastation caused by the ongoing wildfires around areas of Los Angeles. I continue to pray for healing and rebuilding for the families suffering from trauma and loss. We are so blessed to have brave first responders who continue to work tirelessly to protect the Los Angeles community.”
In an Instagram post on Jan. 16, Swift announced she had made donations to 10 fire relief organizations, including MusiCares and Habitat for Humanity.
“The fires in California have devastated so many families, and it’s been heartbreaking to see these stories unfold. So much suffering, loss, and destruction,” Swift wrote in a post on Instagram. “These are the organizations I’ve donated to. If you feel compelled or able to donate, please do.”
Also on Jan. 16, Canadian pop star The Weeknd postponed the release of his new album and canceled his planned Jan. 25 concert at the Rose Bowl in Pasadena. The stadium is now being used as a home base for temporarily housing and feeding more than 3,000 first responders that have been battling the nearby Eaton fire.
On Jan. 18, The Weeknd donated $1 million to fire relief charities. “My focus remains on supporting the recovery of these communities and aiding its incredible people as they rebuild,” he said in a statement on social media.
The Recording Academy’s focus is clearly much the same in its pivot to making next weekend’s Grammy events fundraising-driven, rather than just the usual festive celebration. But would it have been more prudent to postpone the telecast by at least a few weeks?
That is precisely what the academy has done twice before.
In 2021, the COVID pandemic led to the telecast being moved from January to March, when it was held without an audience. In 2022, a surge in COVID Omicron variant cases saw that year’s telecast postponed from Jan. 31 at Crypto.com Arena (formerly known as Staples Center) in Los Angeles to April 3 at MGM Garden Arena in Las Vegas. That was also where the 2022 edition of MusiCares, which feted Joni Mitchell, was held.
“We have a Plan (A) and a Plan B, for January,” Grammy honcho Mason said in a Union-Tribune interview in November 2021. Two months later, in January 2022, he announced that the telecast was being postponed until that April and moved to Las Vegas.
The ratings for the 2022 Grammys telecast were up 2.1 percent over the ratings for the 2021 telecast, which saw Beyoncé and Swift both make history with their respective wins.
The 2021 iteration was, as I noted in my review, “the first edition of the Grammys to take place without an audience, apart from the honorees who performed and applauded each other. It was also the first to be held in and around the 720,000-square-foot Los Angeles Convention Center — standing in for the adjacent Staples Center, the usual site for the 3-1/2-hour awards marathon — and the first where nearly all but a few awards were presented outdoors on one of the center’s balcony.”
Clearly, the academy knows how to pivot in trying circumstances. It did the same in 2020, when — only 10 days before the Grammys telecast — the academy weathered a firestorm of controversy over the sudden ouster of Mason’s predecessor, Deborah Dugan, amid charges of corruption, discrimination and sexual assault. Alicia Keys did a commendable job of deftly hosting the 2020 telecast, which took place the same day that Los Angeles basketball legend Kobe Bryant died in a helicopter crash.
Costly litigation ensued, although apart from receiving bad press, the fallout was felt largely within the academy, not as it is this year with the numbing loss of life, property and livelihoods across the greater Los Angeles area.
Of course, the Grammys telecast and livestream go out to a national and international viewing audience that numbers in the tens of millions, not just to Los Angeles residents. And the fact that so many Los Angelenos are in dire need, both in and outside of the music industry, bolsters the case for holding the Grammys and MusiCares to raise money to help those in need.
In any year, the telecast and MusiCares provide employment for hundreds of stagehands, audio and lighting technicians, TV production crews, managers, publicists, ushers, security guards, caterers and others who need a paycheck more than ever before. This also holds true for the employees at nearby hotels where out-of-town Grammy attendees will be staying, as well as for limo, taxi, Uber and Lyft drivers, restaurant workers, and others whose livelihoods stem in large part from tourism.
Hope and harmony
Music, at its best, can uplift and unify. It can lift spirits and provide hope and harmony in times of tragedy and need. It can simultaneously entertain, enlighten and bring attention to worthy causes. It can provide a few hours of escape, if not relief, when we are reeling from soul-sapping events.
But is it insensitive, if not tone-deaf, to hold the usually star-studded Grammy Awards so soon after the horrific fires that have displaced tens of thousands of people — fires that, as of this writing, 10 days before the Grammy telecast, are still burning?
What tone will returning host Trevor Noah, who was only announced Tuesday and is himself a Best Comedy Album nominee this year, strike?
How will the performers — none of whom were announced before the midday Thursday deadline for this article — strike a tone that is suitably sensitive and serious at an event that is typically upbeat and glitzy?
How many attendees from other cities and states will feel comfortable if claiming the hotel rooms they reserved means the ouster of displaced Los Angeles residents, who are unable to return to their homes, or have no homes to return to?
It is also unclear whether the delay in announcing any performers so close to the telecast suggests a reluctance to appear on the part of Swift and Beyoncé, this year’s two most prominent nominees, or any other top contenders. The absence of these two megastars — who for the first time since 2010 are vying against each other for the Album of the Year award — could impact viewership.
Nearly every question posed leads to more questions. None of them are easily answered.
The bottom line, then, may be whether the credibility of the Grammy Awards and its ability to raise money for fire victims is helped, or hindered, by going ahead as scheduled on Feb. 2. Here’s hoping it’s the former.
The 67th annual Grammy Awards
Hosted by: Trevor Noah
Featuring performances by: No performers were announced prior to the midday Thursday deadline for this article.
When: 5 p.m. next Sunday, Feb. 2, on KFMB Channel 8, Paramount+ and Showtime
2025 Grammy Awards Premiere Ceremony
Featuring: No performers or hosts were announced prior to the midday Thursday deadline for this article.
When: 12:30 p.m. next Sunday, Feb. 2. on grammy.com and the Grammy YouTube channel
Originally Published:
San Diego, CA
New dune restoration effort aims to protect Oceanside beaches
The city of Oceanside has begun a dune restoration pilot project aimed at reversing years of sand loss along the coastline and strengthening coastal resilience.
The project is underway north of the Oceanside Pier, where crews have been installing posts and fencing designed to capture windblown sand and help rebuild dunes that once naturally protected the shoreline.
“This whole area was filled with dunes. In fact, all of the harbor was a big dune system that connected to all the estuaries there,” said Jayme Timberlake, a coastal zone administrator for the city of Oceanside.
The North Oceanside Coastal Dune Restoration Pilot Project is the latest effort to address erosion that has steadily reduced beach sand for decades. According to a study from the U.S. Army Corps of Engineers, sand along Oceanside’s coast has been diminishing since the 1940s, when harbor projects began. While annual dredging has helped replenish some of that sand, erosion remains an ongoing issue.
Crews from the California Conservation Corps were seen hammering and drilling Wednesday as part of the installation process. The goal, advocates say, is to create conditions that allow dunes to rebuild naturally.
“The sand is blown, it hits, it hits the fences, it hits the vegetation and then it starts depositing and growing that back beach area, so you’ll get that little dune hump. There will be native plants and vegetation going in here,” said Robert Ashton, president and CEO of Save Oceanside Sand.
Ashton said restoring dunes is about more than just preserving the beach.
“A healthy beach and habitat like this is important for the health of the community,” he said.
Timberlake said northern Oceanside is one of the few areas where enough sand still exists to make dune restoration possible, thanks in part to sand placed on the beach from harbor channel dredging.
“In this area of northern Oceanside, we have sand still because we use the sand from the channel harbor dredging, and we put it on the beach here, but there’s still episodic erosion issues. There’s still chronic erosion happening here in this northern area as well,” she said.
City officials describe the project as a nature-based solution to climate change and sea-level rise. With fencing, posts and eventually native vegetation, Timberlake said the dunes can grow more quickly and provide a buffer between the ocean and developed areas.
“We really need to keep that sand on the beach where it is, when we have it so that we can keep that resilience between our homes, our infrastructure and the ocean itself,” Timberlake said.
Fenced plots have been installed from just north of the Oceanside Pier to Harbor Beach and the San Luis Rey River, part of a broader effort to protect nearly four miles of coastline.
“That’s our objective: to get all our beaches restored in a sustainable and responsible manner that restores the health and the life blood of our city,” Ashton said.
City officials said the fencing used in the pilot project could remain in place for about three years as the dunes develop.
This story was originally reported for broadcast by NBC San Diego. AI tools helped convert the story to a digital article, and an NBC San Diego journalist edited the article for publication.
San Diego, CA
Court upholds verdict for former news anchor Sandra Maas in KUSI’s appeal of equal pay lawsuit
A San Diego appeals court on Tuesday upheld the judgment and what amounted to a $1.775 million award to former news anchor Sandra Maas, who sued the company that previously owned KUSI, alleging it violated equal pay laws by paying her significantly less than her co-anchor.
The opinion comes nearly three years after a San Diego Superior Court jury also found for Maas in her whistleblower claim, in which she argued that her contract was not renewed because she pushed back for the pay disparity.
McKinnon Broadcasting Co., which had owned KUSI when Maas worked there, had challenged the verdict on various grounds, “none of which we find persuasive. We affirm the judgment,” reads the opinion issued Tuesday from the 4th District Court of Appeal, Division 1.
Maas’ attorney, Josh Gruenberg, said in an email Tuesday that the appellate court “confirmed that the jury’s findings were supported by substantial evidence and that the process was impartial and sound.” He called the opinion “a true celebration of equal pay rights and of a judicial system that holds firm — even on appeal.”
“Most importantly, it brings long-overdue closure to a grueling chapter in Sandra Maas’s life,” Gruenberg said. “It takes courage to come forward, and even greater courage to withstand the blocks and tackles that followed in this case.”
Attorneys for McKinnon did not immediately respond to an email requesting comment.
According to arguments and evidence in the 2023 trial, Maas was paid a lower annual salary than male co-anchor Allen Denton during their years anchoring the TV station’s flagship newscast. In 2010, when they first teamed up, she was paid $120,000 annually, and he made $200,000.
When he retired, in 2019, his annual salary was $245,000. Hers was $180,000. That same year, Maas left the station. Maas’ attorney told the jury that when Maas asked for equal compensation, her contract ultimately was not renewed.
Pam Vallero, one of Maas’ attorneys, told the jury in opening statements of the four-week trial that the two anchors had sat “side by side at the same news desk, reading from the same teleprompter, anchoring the same newscast, but paid significantly different by KUSI.” That, she told the jury, “is why we are here.”
The attorney for KUSI told the jury during opening statements that Maas had been “paid fairly for her work in light of her experience, in light of her work ethic, attitude and overall value.”
Maas’ counsel argued that she had worked in broadcast television for 33 years, compared to Denton’s 37 years on TV. KUSI’s attorney said Denton had 48 years of experience, counting 11 years in radio before jumping to TV.
Maas, who worked at CBS 8 in San Diego in the 1990s, started at KUSI as a morning anchor in 2004. Denton, who had worked in the Bay Area, joined KUSI in 2010.
Aside from upholding the verdict, the appeals court on Tuesday also upheld the award of more than $2.3 million for Maas’ attorneys fees.
San Diego, CA
San Diego convention center’s roof and central plant are failing. New hotel tax hike comes to the rescue.
Now that a hotel tax hike San Diego voters approved in 2020 is on firm legal ground, the city is preparing to start spending millions of dollars on some key civic initiatives this fiscal year — fixing up its aging convention center and addressing homelessness.
Although the city began collecting the added tax revenue authorized by Measure C in May, it held back on releasing the money until after the last of several legal challenges spanning four years finally ended late last year.
It is now estimated that nearly $77 million in revenue will be generated this fiscal year, with $45.4 million set aside for convention center expenditures and $31.5 million for homeless programs, according to Mayor Todd Gloria’s office.
Measure C raises the city’s previous transient occupancy tax rate of 10.5% to a maximum of 13.75% for guests staying in downtown properties, closest to the convention center. For hotels in mid-range locations, the rate is 12.75%, while those farthest away from downtown charge guests a rate of 11.75%.
While one of the main objectives of Measure C was to finance a long-planned expansion of the city’s convention center, moving forward on such a costly project, at least in the near term, remains tenuous, largely because costs have escalated tremendously since it was first conceived. As a result, there would not be enough funds from the hotel tax increase to pay for it.
In the meantime, more urgently needed improvements, like a replacement of the center’s central plant that houses the center’s entire cooling and heating system, should be undertaken, said Steve Cushman, special assistant to Gloria for the convention center expansion. He says that the measure’s reference to “modernization” of the center legally permits the city to use the revenue for infrastructure upgrades while it continues to explore an enlarged center.
Cushman has proposed expenditures of $21.4 million this fiscal year and a total of $118.7 million over five years, but those will need to go before the City Council for approval before they can be spent on the convention center upgrades, he said.
“I would anticipate that the expenditures would commence in this fiscal year,” he added.
Toward that end, the council did a bit of legislative housekeeping on Tuesday to reset new implementation dates and deadlines, given the years-long delay in legally confirming that the 2020 ballot measure had passed with a simple majority as opposed to a two-thirds threshold that voters were originally told was the requirement for special tax initiatives.
The new set of Measure C dates that the council approved Tuesday is meant “to fulfill the expectations of voters,” said City Treasurer Elizabeth Correia.
As an example, the new effective date for the measure is now May 1, 2025.
One of the provisions of Measure C is to allocate revenue from the hotel tax boost in varying percentages, depending on the use. The largest share — 59% — goes to the convention center, but for the first 5 1/2 years, homelessness programs will get 41% of the funds before decreasing later on to 31%. The smallest portion of the tax money is reserved for street repairs, at 10%.
Under the measure’s original timeline, the increased funding for homeless services was to end in 2024. With the new dates approved by the council, it will extend through Oct. 31, 2030, and street repair funds will now kick in on Nov. 1, 2030.
To monitor how the tax revenue is being spent, periodic audits for each of the three categories of uses will be required, with the first of those due in 2029.
Councilmember Marni von Wilpert said she was especially relieved to see that there will finally be taxpayer money available to address longstanding maintenance issues and the modernization of the convention center.
In an update provided last year by the Convention Center Corporation, council members learned that the facility is facing $200 million in deferred repair work over the next five years, plus $200 million more over the next 20 years.
“Every year, we hear from our leaders at the convention center that it has significant needs for maintenance, and we as the city of San Diego cannot fill all those needs (from the budget),” von Wilpert said.
She noted that the Measure C money could be used to support the issuance of an infrastructure bond to provide long-term funding for the convention center.
“I want the convention center to think about this because this is one of the biggest revenue generators in our region,” she said. “We shouldn’t let this chance go because every year I’m hearing more and more about the needs for maintenance in our convention center.”
Cushman’s proposed expenditure plan, assuming it gets the approval of the council, would be to spend $7.5 million this year on a new roof for the western portion of the center, which opened in 1989. More than $9.5 million has been budgeted for the first phase of a central plant overhaul.
Last year, Convention Center Corp. Chief Operating Officer Corey Albright told council members that the No. 1 question from clients is whether the city is investing in its center. “It is weighing on booking decisions choosing San Diego as a destination,” he said at the time. “The answer simply cannot be, year over year, no significant capital investment.”
In addition to higher costs, a convention center expansion is also hamstrung by the city’s lack of control over a key waterfront parcel that would be needed to complete the project.
Fifth Avenue Landing currently holds a lease for that parcel, which expires in mid-2027. The city and San Diego Convention Center Corp. worked with Fifth Avenue Landing off and on for years to work out an agreement to regain control of the leasehold, and ultimately, a settlement agreement was reached in 2018, although it was conditioned on what was expected to be a November 2019 public vote. That didn’t happen until March of the following year, and it was believed at the time that Measure C had failed.
That agreement, however, remains in place, and it is preventing city officials from talking openly about the expansion project or taking steps to move forward with some kind of plan until 2027. Cushman, however, remains optimistic, but considerable work needs to be done.
“In light of the settlement agreement with (Fifth Avenue Landing), in 2026, we cannot do anything to plan for the project,” Cushman said. “However, I anticipate by January of 2027, when we can start working on the expansion part of the project, I will be looking for additional sources of funding.”
In addition to updating Measure C’s timeline, the council also agreed Tuesday to set up a special citizens advisory committee to the mayor and council on how to best spend the money set aside for homelessness programs, as required by the initiative.
David Rolland, spokesperson for the Mayor’s Office, explained that the money budgeted for this year will help fund existing homelessness programs, including those that provide more than 2,600 shelter options, including what he described as traditional beds, safe parking and safe sleeping.
“I am absolutely delighted that this long dream of providing enough money to help with our homeless is finally over,” said Councilmember Jennifer Campbell. “This time has given us a lot of space to learn what is working and what is not. So the oversight of this committee hopefully won’t be too difficult, and they’ll be able to see from the auditing of the funding that things are going in the right direction.”
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