The coronavirus has hit Italy, with the third largest economy in Europe, harder than all the other European nations so far, with the first phase of the lockout having paralyzed the northern, industrial half of Italy that powers the economy. Pictures show waiters in Milan, the northern powerhouse of industry and culture, standing among empty rows of tables; restaurants and other popular tourist destinations are deserted.
My European work this year, particularly in Italy but everywhere-- heck, there are cases of coronavirus infection in ANDORRA and MALTA now; nobody wants to use the word "pandemic," but it's migrated to like 108 countries, on all continents except for Antarctica, and the Europeans have declared that that's what the outbreak is, whether the USA acknowledges it or not-- is definitely in jeopardy. I am not convinced my entire career is similarly endangered, but the uncertainty of economic circumstance probably downgrades the importance of my being nominated for the Best CD of 2019 for the Blues Music Awards, and the release of my new double live solo record March 27.
I don't have any domestic touring work until May, and European travel, for a working class professional musician like me, looks as uncertain as any other business whose success depends on getting products in the hands-- and ears-- of consumers. If crowds can not gather without restriction to hear performers, then, like quarantined ships sitting in harbors unable to deliver their cargoes, material or human, musicians' livelihood is disrupted.
We touring musicians, the business of whose life is to bring pleasure to aficionados and casual fans alike, can only hope that the effects of this virus will ameliorate, from a combination of hot weather, appropriate action from authorities, and conscientious application of safe social behaviors by the public while the emergency looms.
(Article changed on March 12, 2020 at 04:41)
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