“Against the assault of laughter, nothing can stand.” – Mark Twain
by Luke Schmaltz
Perhaps the lowest blow Covid-19 has thrust into the guts of live entertainment is the crippling assault on the art form that thrives within kissing distance of society’s face.
Live comedy shows are casualties of circumstance, as there is too great a price to pay when large crowds of people gather in compact spaces and let loose with the explicit purpose of opening up and laughing out loud.
Comedy Works (Landmark location) is a Denver institution and a live comedy mecca; currently shuttered by Covid-19.
The essence of effective live comedy is the proximity of the artist to the audience. It’s an intimate affair, wherein spectators willingly subject themselves to carefully crafted webs of cunning that twist their wits into coils of suspense and then snap the tension with an unexpected conclusion. The result: uncontrollable laughter.
Social distancing and the complete shutdown of indoor venues has put a detrimental damper on this dynamic, placing comedy venues, promoters, managers, booking agents and the essential engine upon which the industry runs — the comedians — in peril. Currently, the world that hawks hilarity is stagnating, yet the resilient nature of the art form pushes on like a river smothered by a landslide — looking for other ways to reach its destination. And, while some do not deem laughter as an “essential” industry, those who create it think otherwise, and are reacting to 2020 in various ways.
An Unfortunate Setup
Comedy Works is widely regarded as one of the finest institutions in the live comedy business, but their business is currently paralyzed. Longtime owner/operator Wende Curtis explains: “Our downtown club closed on March 15 and has never been able to re-open. We were unable to get 50% or even 100 people in to maintain the social distancing requirements. Our south location reopened in late July but was closed again with the recent mandates.”
With no options for operating in an outdoor space, they are looking to the powers that be for assistance. “We are hoping government officials see the impact on live entertainment venues, restaurants and all businesses impacted and will appropriately accommodate us in the stimulus package,” Curtis explains.
Curtis, a universally respected comedy promoting legend, is critical of the government’s role thus far: “These venues and businesses should not have to bear the burden of this pandemic. The government should have stepped up and helped these businesses sooner. The Paycheck Protection Program (PPP) was meant to suffice for eight weeks. It’s been nine months. Without small businesses, we [live comedy] will be a couple of ugly big box companies. A truly sad state.”
Promise Of The Real
Despite the detriments of 2020, comic Christie Buchele is still hopeful — hanging onto the idea that venues, and more importantly comedy fans, will hang on too. The relative newcomer to the jokester trade has quickly blazed a trail to the forefront of the new faces set, earning a reputation for being hardworking and fiercely funny. Staying busy during 2020 hasn’t been easy, she describes performing live after the shutdown: “My first show was a zoom show for a producer in Austin, the first week of April. I didn’t do a live show until Mid-May. We did the show in the parking lot of a brewery with tables spread out and comics all wearing masks when they were off stage. The crowd size was maybe a little smaller than average but it’s hard to tell with everyone spread out.”
Denver comic Christie Buchele is doing everything she can to keep her chops up during indoor venue shutdown.
The experience of performing under these conditions makes Buchele pine for the good old days of clubs full of patrons packed in sardine-tight. “Before COVID-19 an outdoor show felt like a real pain in the ass. Keeping attention was tough, keeping up your energy and dealing with any distractions was terrible. I do think that audience members are just so happy to have something to do that now when they go to an outdoor show, they are much more attentive and excited. And they realize we are rusty but just so excited to do comedy again.”
Buchele urges comedy fans to stay tuned and support independent venues by subscribing to streaming content and buying tickets for future shows. Of all these, she laments the temporary loss of Denver’s finest room the most: “Of all the venues in Denver, I miss Comedy Works Downtown. It’s the best place in the world to do comedy and I hate not being able to go down there every week and see everyone and have the best time onstage. I never thought I would go this long without stepping foot in that building. I imagine I will cry happy tears the first time I get back up there.”
The Show Must Go On
Ben Kronberg is a Denver comedy stalwart, having begun his performance tenure in the early 2000s with no end in sight. His straight-out-of-left-field-blink-and-you’ll-miss-it style is inimitable and unmistakable. Kronberg’s comedy blurs the line between traditional set-up / punchline joke telling and abstract mentalist conjecture, which seems to have seeped into his perception of linear events in general. When asked to compare his comedic experience post and prior to the shutdown, he says: “I have what you could call a memory blend with shows now. After doing comedy for over 15 years, all the shows seem to blend together and fade together. I have been running shows at The Denver Comedy Lounge for about a year so it [last indoor show] was one of those to be uncertain.”
Ben Kronberg has been performing in Denver and beyond for 15 years and is keeping things light.
Once social distancing regulations were in place, Kronberg adapted and kept forging forth. “We kept doing shows however we could, moving to the alley behind the lounge and trying to comply with all of the regulations. When you go to a strip club you want to be close to the performer, and comedy is no different so it gave a cold medicine vibe to the whole thing with the laughter vaporizing because of being outside. We could fit maybe 30-ish people in this situation. People who came out were receptive, but this muted version of a comedy show could be felt by all. But it was better than nothing.”
Kronberg sees virtual shows as a band-aid over an axe wound type of remedy but participates nonetheless — if only for something to do. “The most fun I had [virtually] was probably doing a zoom talent show. Most [attendees] were performers and a few pervy, lonely audience members. It was better than nothing but not a proper substitute for the real thing. Kind of like a homemade fleshlight.”
Troy Baxley is a Mile High comedy legend and may or may not see stage time again.
Give ’Em Hell
Of all the unsung heroes in the Denver comedy scene, Troy Baxley is at the top of the list, having begun performing in the 1980s and since played just about every comedy stage in North America. He ran one of the first open mics in Denver at the Lions Lair on East Colfax and, of late, has taken to mentoring an onslaught of young comics determined to get on the fast track to funny.
Baxley sees the current shutdown as a great equalizer, serving to weed out what he calls “water cooler comics” while testing the endurance and mettle of those who are truly in it for the long haul. “The thing is,” he begins, “most are crumbling under the weight because there’s no end in sight. If you’re a hacky comic, the allure of doing the same two-minute set falls away, and since you aren’t disciplined to be constantly developing new material your skills get rusty fast. With open mic nights gone [for now] you can’t just go tell a couple zingers one night and then go to work the next day announcing yourself as a comedian.”
Unfortunately, Baxley was recently diagnosed with onset Parkinson’s disease, perhaps hindering his ability to perform once clubs are open again. Yet, Baxley shrugs off the shutdown like he’s shutting down a heckler. “I can tell by a heckler’s tone how long they have before I get the room to turn on them. I can tell by Covid-19 that, eventually, things will bounce back and once we all work the rust off, we’ll be cracking wise better than ever.”
In Denver, these days you get a choice between the “Corporatists” like Mayor Hancock and former mayors Federico Peña and Wellington Webb, and the “Radicals” like Candi CdeBaca and the majority of the newest Denver School Board. There is, these days, no other viable alternative. Neither group is all bad or all good but together they are helping to destroy the city. Back in his first run for Denver mayor, Federico Peña’s slogan was “Imagine a Great City.” Today the slogan appears to be “Imagine a Really Crappy City.”
The Corporatists under Mayor Hancock have made their contribution to a crappy city by destroying as many open spaces and parks as humanly possible. Denver has gone from one of the leading cities in percentage of open space and parks per resident to one of the worst in the United States. The Corporatists, of course, wish to exploit any city asset built up over generations to make money for themselves and their friends, like high-density developers and lobbyists/lawyers. To the credit of the Radicals, they are not on board with this grotesque program and are the ones fighting the mayor and his friends to preserve what is left.
The Radicals on the Denver Board of Education, on the other hand, are doing there best to destroy quality education in the City and County of Denver, aided and abetted by Denver’s teachers’ union. The teachers’ union in Chicago has declared that in-school learning is “rooted in sexism, racism and misogyny,” and many of Denver’s unionized teachers would certainly agree.
The Radicals on the Denver Board of Education are led by none other than Tay Anderson who won an at-large seat in 2019. He is not a big believer in education, having barely gotten out of Manual High School himself in 2017. He demands that if you talk to him that you address him as “Director” Anderson. More recently he has been nicknamed “The Round Mound of Flop Downs.” Mr. Anderson does not appear to have any means of support. The Board job is without compensation. His Board bio shows no present employment. But there are other ways to make money.
Back in July, he was at the homeless encampment by the State Capitol when he said he was pushed by the police, although video appears only to show him flopping down. He claims he went to a hospital, but the hospital was never identified. He set up a Go Fund Me Page for “medical expenses” without ever identifying what those expenses were. Nonetheless he took in over $13,000. He also hired a lawyer and presumably got a payday from the city.
But money never lasts long. In December, he did another flop down at an unidentified Target, this time claiming severe chest pains caused his collapse. He had previously tapped Target, claiming that he and his brother had been racially profiled at another unidentified Target, and received a swift apology from corporate headquarters and who knows what else. Why you want to continue to shop at a store that you claim racially profiled and harassed you is a little strange, but we are sure Mr. Anderson has his reasons. It has not been disclosed whether he has hired legal counsel for his latest flop down.
What Mr. Anderson and his fellow Radicals want to end is children having any choice on where they go to school, an idea on which the Denver teachers’ union heartily agrees.
The word “competition” is an anathema to them. The schoolteachers’ union opposes charter and magnate schools, and the Radicals ran on limiting, or even getting rid of, educational opportunities for kids in the City and County of Denver. The Corporatists, including Mayor Hancock, had strongly supported school choice with money coming in for school board races by developers and others. This support for school choice was not out of any eleemosynary belief in education, but they realized with only lousy, non-competitive schools in Denver, less people would be willing to move to Denver and fill up all those high-density condos and apartments. But the corporate support largely dried up in 2019 leaving only the money from the schoolteachers’ union for the 2019 election which resulted in the Radicals winning.
The Radicals relatively quickly drove out widely praised school superintendent Susana Cordova who is a child of Mexican American immigrant parents and the first college graduate in the family. She went to Denver schools and began teaching in them starting in 1989. She is leaving Denver for a much less prestigious and lower paying job in the Dallas Texas Independent School District. She stated she is leaving Denver because Dallas “reminds her a lot of the Denver I grew up in.”
Obviously, today’s Denver does not remind her of the Denver she grew up in. Moreover, she also does not believe the present “Imagine a Crappy City” contest between the Corporatists and the Radicals will improve matters any. Will there ever be a movement for something other than the Corporatists and the Radicals? Ms. Cordova does not believe anything will develop anytime soon and unfortunately neither do we.
“Repeat after me: real estate provides the highest returns, the greatest values and the least risk.” — Armstrong Williams, entrepreneur
by Luke Schmaltz
As of February 25, 2020 — according to Forbes and WalletHub — Colorado had one of the lowest residential property tax rates in the nation — just 7.15% — third to only Hawaii and Alabama.
As of November 3, 2020 — according to some fiscal experts — that glowing statistic may gradually begin to fade.
An Uneven Keel
Consistent with the year’s underlying theme of division and disparity, the commercial tax rate sits at an inverse position at 29% — making the terrain for independent, small businesses especially rough, and increasingly so as Covid-19 looms on. Before the election and the ensuing repeal of the Gallagher Amendment, anyone keen on owning a home, as well as commercial property in Denver, was privy to staggeringly different tax bills — even if their residential property was right next door to that of their business.
In an election that was overwhelmingly characterized by close races and slim margins, Amendment B (repealing Gallagher) passed in a landslide vote of 57.4% to 42.6%. This means that the low property tax rates Colorado homeowners have enjoyed for decades will, according to opponents of the measure, begin to increase the tax burden homeowners are forced to bear — especially those in the urban middle-class sector.
Wide Appeal
For the uninformed, property taxes are collected in order to pay for local government services that benefit the immediate district. These include schools, fire departments, infrastructure, water, libraries, recreation and county road maintenance.
Tax Increase?: With Gallagher repealed, some say taxes will go up while others say they will not.
As all property owners quickly discover — residential and commercial alike — taxes are determined by complex formulas, dreaded by many and resented by all for their unrelenting consistency. In this election cycle, the convoluted nature of taxes seemed to have influenced the diverse interest in Amendment B vs. the Gallagher Amendment — perhaps the only refreshing thing about the issue in general.
Amendment B garnered a patchwork of varied bipartisan support, both for and against the measure. Proponents included former U.S. Senator Hank Brown (R), current Republican state senators Bob Rankin of Carbondale, and Don Coram of Montrose, current House Representative Daneya Esgar (D) and former Colorado Secretary of State Bernie Beusher (D). Naturally, the measure was opposed by the author of the Gallagher Amendment, former Senator and career public servant Dennis Gallagher (D) along with the right-leaning head of Colorado Rising Action, Michael Fields, as well as with former House Speaker Dickey Hullinghorst (D).
An Outdated Formula?
For nearly four decades, Colorado residential property owners have enjoyed consistent tax cuts supplied by the Gallagher Amendment which, until November 3, had rates locked in at 7.15%. The disparity here is stark, however, as commercial property owners were “stuck with the bill” as it were and foisted with tax rates consistently ringing in around 29%. Under Gallagher, residential taxes could only allot for 45% of the total tax base, with nonresidential properties such as retail businesses, factories and farmland making up the remaining 55%. As rising residential property values skyrocketed, the inherent complexity of the tax formula resulted in an unbalanced scale — with the heavy end tipping toward commercial property holders.
While this lopsided provision was great for homeowners in high-growth areas along the front range, owners in rural areas suffered — as their property values were not accruing at nearly the rate of their urban counterparts. Simply put, with Gallagher in place, the more the value of a property increased, the less percentage of tax the owner had to pay. With this protection removed by Amendment B, critics of the measure are predicting that residential property taxes will rise drastically. Meanwhile, supporters of the measure contend that removal of the Gallagher Amendment will leave current rates frozen in place — for now.
Too Much Too Soon?
The recently-televised Colorado Decides: Amendment B debate hosted by PBS 12 featured outspoken public figures weighing in on both sides. Representative Esgar (D) championed the effect a repeal would have on small businesses: “ … right now 20% of the taxpayer base (commercial property owners) are paying 55% of the tax [revenue]. These are small businesses … right now they are being hit the hardest … they want to know, right now, why they are paying four times what [the] residential property tax rate is …” Esgar explained further that leaving the Gallagher Amendment in place would result in commercial property taxes ballooning to up to five times that of the residential rates.
Meanwhile, in opposition to Amendment B, Michael Fields (Colorado Rising Action) explained that a statewide repeal is far too drastic, and rather, measures should be taken to amend the tax code in certain districts who are suffering from loss of revenue. In the aforementioned televised debate, Fields contents that: “ … a solution needs to be more regionally based or county based … I think that makes a lot more sense because there are areas of our state that are either less commercial property or their (residential) values aren’t going up as much …overall, this is a regional problem and there should be a regional solution.
Upwardly Mobile
As fate would have it, the Gallagher Amendment is no more. Without another policy in place, according to TABOR, residential property taxes will rise as the property values increase. So, as Denver renters have recently seen in vivid detail, this could mean yet another rent hike as landlords pass the overall cost of owning property onto their tenants.
The Gallagher Amendment was a major ballot issue in 1982 and again in 2020. It was designed to evenly spread the tax burden between residential and commercial properties.
While proponents of Amendment B downplay the severity of repealing the Gallagher Amendment, others like Fields are quick to point out the costly implications. An October 26, 2020, article published on coloradopolitics.com contends that a repeal leaves no protections in place for property owners. This means that — as required by TABOR — property taxes would increase to the tune of $203+ million and keep climbing — a fact that lawmakers like Daneya Esgar seem to have forgotten to disclose whilst selling this new piece of legislation to an uneducated and most likely distracted public.
Others contend that tax rates that are applied according to the rapid rise of property values, while being inconvenient for owners, can spell ample funds for public services — especially in rural and economically challenged areas. At any rate, the varied implications of how things may play out are a fitting reflection of the complex nature of property tax formulas. To find out what the repeal truly means (just like everything else this year) folks are going to have to just wait and see.
“I can’t remember if I cried When I read about his widowed bride Something touched me deep inside The day the music died”
— Don McLean, American Pie
by Luke Schmaltz
As with any art form, there are dabblers, there are enthusiasts and there are absolute fanatics. For years, Denver has encouraged all manner of minstrels from prodigies and virtuosos to working players and weekend warriors. These dynamics play into the fickle nature of music, as trends turn over at hypersonic speeds — prompting fans to abandon a movement just as quickly as they adopted it before even considering its merit. Similarly, some musicians are quick to call it quits when a new fad, craze or in this case — a pandemic — comes along that does not resonate with their aspirations. Some, on the other hand, refuse to hang it up at any cost.
Way Back When
Before mid-March of 2020, Denver’s diversity made for an exciting ensemble — an aural offering of such variety that just about any night of the week you could find some kind of a sonic display going on, whether it was rock and roll, country, hip-hop, blues, electronica or even the ear-splitting cacophony of a dive bar karaoke night. All this has changed now, as Denver venues have, for the most part, been forced to shut down their operations. Mainstays such as the Gothic, Bluebird, Ogden and Marquee theatres are shuttered along with big venues like Red Rocks, the Fillmore Auditorium, Denver Coliseum, Mission Ballroom, Levitt Pavilion and more. And then there are the little guys — the lifeblood of local musicians and C-circuit touring bands. Places like Lions Lair, Hi-Dive and Larimer Lounge are hanging on by a thread while Live at Jack’s, Armida’s, 3 Kings Tavern and Skylark Lounge have closed permanently.
Lockdown Fallout: Shuttered theatres and out-of-work employees and musicians.
A Fragile Construct
Many a working musician has contended with smug, demeaning and dismissive venue owners and booking managers who think musicians need them and not the other way around. Conversely, many a club manager has dealt with the insufferable whining of fledgling musicians who think they have the world coming to them on a platter just because they can play 12-bar blues. In reality, it’s a symbiotic relationship, with only the hardiest (or luckiest) of either archetype standing a chance of making it out the other side, identity intact. From a musician standpoint, the hobbyists and weekend warriors will sit this one out while the diehard, lifelong players, composers and engineers will grind on — adapting in stubborn overtures of Darwinian survival.
Stalwart Strategies
The Hibernator
Learning Something New: Aaron Howell wants you to learn something new during the pandemic.
Aaron Howell is the captivating singer and frontman for Denver-based hard rock favorites MF Ruckus. An international touring act that has long-graduated from dive bars and house parties, they are the type of mid-to-large-draw touring band forced into hiatus due to mass closure of theatre-sized venues. Not one to easily, if ever, admit defeat — Howell has chosen to see the pandemic through an esoteric lens. “Some of the greatest learnings in human history have happened during times of plague,” he explains. “It’s one of the default settings that we, as musicians, are built to run.”
“There’s an old Russian saying,” Howell continues, “If you chase two rabbits you catch none.” Rather than lose sight of his goals, he has chosen to intensify his focus. Putting his money where his mouth is, Howell has begun expanding his horizons by taking online music courses to enhance his guitar skills. “Now that the world has shut down, the tethers holding us to any excuse to not try new things have frayed away. Although Howell is not all rainbows and sunshine, he does maintain the glint of a steel-tinted silver lining: “I think about quitting every day. But what keeps me going, is that my obsessive completionism won’t let me leave anything unfinished.”
The Prodigy
Tim Merz — aka Timmy Flips — is the dynamic, triple threat creative force behind hybrid punk/metal outfit Red Stinger. Before the shutdown, when he wasn’t arranging complex lyrical hip-hop overtures or riff-heavy rock and roll tunes, he was working as owner/operator/head instructor of Booth Dance Studios — teaching ballroom dance and other disciplines of movement to a large, diverse, demanding student body. Unlike most folks, Merz did not regard the shutdown with dread, as his own physical exhaustion was on course to slow him down one way or another. “When I heard there was a possibility we’d be put on lockdown, it saved my life, really. I had an overwhelming sense of relief because my life got to pause, and I finally got to breathe.”
Triple Threat: Tim Merz aka Timmy Flips aka Twinkle Toes; a lockdown triple threat.
While counterintuitive to most, Merz’s perception of the situation was as unorthodox as his self-appointed artistic trifecta of punk rock, hip-hop and ballroom dance. He wasted no time shifting focus as an overextended teacher to a hyper-productive musician. “Once I accepted the shutdown was imminent, the faucet opened up and I decided to just do me … for the first time ever I was like — what a gift, what a blessing — it was exactly what I needed. Since mid-March, Merz has written a two-person dance piece and a full cast stage dance show, recorded a hip-hop album and written a four-part Red Stinger musical series titled The Stinger Scriptures — soon to be released in four separate recordings.
The Adaptor
Bart McCrorey: Engineering mastermind and musical wizard didn’t skip a “lockdown” beat.
Bart McCrorey is the proprietor and sonic wizard behind the Crash Pad studio as well as a slew of bands including Messiahvore, Throttlebomb, Valio Mierda and The Pitch Invasion to name a few. He has produced and engineered records for tens of dozens if not hundreds of Denver bands over the past 20 years. The shutdown put a serious damper on studio recordings at first, but he was quickly able to switch to working virtually — having musicians send him raw tracks recorded remotely that he could then enhance, add accompaniments to, mix and master to his clients’ content.
Two of McCrorey’s bands have also been among the select acts to participate in Safe and Sound — a music series put on by the Oriental Theater — one of the few large venues to remain in operation during the pandemic. No small feat, as every event must be monitored scrupulously for adherence to social distancing guidelines and capped at 25% occupancy. On the fun side, McCrorey used everyone’s favorite social media garbage chute, Facebook, to introduce an interactive page that threatened to turn the tide from despondent and divisive to upbeat and educational. Riff Book was launched in the early days of the lockdown and quickly grew to nearly 1,000 members sharing guitar licks, songs and solos rather than polarizing rhetoric and sob stories.
The Troubadour
Tony Luke: Discovered abundance amid the scarcity of live music.
Tony Luke unplugged his guitar for only as long as the Colorado governance mandated and not a measure more. The renowned bluesman is locally revered as one of the best in the business — from his generation (X) for sure. Avoiding the popular downtown clubs and trendy hipster bars, Luke prefers the mom and pop dives of the Denver outskirts, which are somewhat removed from the intense scrutiny of most establishments near the city’s popular epicenter. After being forced to take nearly three months off (April through June) Luke began playing his local circuit of small venues tucked away in suburban strip malls and semi-rural thoroughfares. Contrary to Aaron Howell’s aforementioned MF Ruckus, Luke’s band is just the right size of small but mighty. “Bands that are bigger fish present a problem for venues right now and no one wants to book them,” he attests. “But I’m a roadhouse band, so I play for existing audiences and turn them into fans by the end of the night.”
Luke was pleasantly surprised that bar patrons were overly exuberant and yes, even thankful for live music in unprecedented ways. “I have found success in the pandemic because people are starved for music,” he explains. “My tip jars have tripled from 80 dollars or so to sometimes 300 and 400 bucks a night.” He chooses to view the circumstances through a romantic lens of sorts, stating “I am seeing this time as a sort of renaissance of the old-time juke-joint type of blues nights. You know, when there were no other shows going on and no big concerts — just a couple guys on a small stage in a little bar and people really, really appreciated the music.”
At the onset of 2020, Samantha Donen had it made. She had recently graduated from Metro State University with a Bachelor of Science in industrial design. After completing four years of intense study, she had also won several prestigious design contest awards including first place in the Community Veggie Box Denver Botanic Gardens Contest, first place in the Clean River Design Challenge, sponsored by Greenway Foundations and the City of Denver, as well as the 2020 Impact Award from MSU Denver. She has also designed a dog harness called “Wag” and an ergonomic desk for children dubbed “Little Butts.”
As February crept into March, however, it became apparent that an industry frozen from the impending COVID-19 shutdown was putting a serious damper on her dreams. Sam was set to kick off her career as an exhibit designer, when over 650 trade shows across multiple industries were shut down by COVID-19 restrictions. By April, it was clear that pursuit of her design career would have to be put on hold, as the pandemic had other ideas for the economy and for society in general. “Pursuing my passion in a year riddled with anxiety was not an easy thing to do,” she recalls. “”I had to realize,” she continues, “that it was not personal — this was happening to everybody.”
A Hero’s Journey
Despondent but not deterred, Donen sought guidance from a local leader by the name of Rabbi Yossi — a figure known for his outreach work with the Jewish community the world over. He encouraged Sam to follow her chosen path no matter the obstacles — citing the parable of Noah’s Ark as a compelling example of design work rendered in a challenging time.
Despite the lockdown, Samantha Donen was determined to put her design skills to work.
Inspired to press on, Donen began noticing the repeating news items about the severe lack of readily available personal protective equipment (PPE) — not just for medical workers, but for the average citizen as well. She did a bit of digging and discovered Make4Covid.co — a nonprofit organization dedicated to making masks and delivering them to as many hospital workers and everyday citizens as possible.
Donen reached out to Dan Griner, the Design and Clinical Testing Lead for Make4Covid, and after a four-hour Zoom meeting she was welcomed into the fold. She then teamed up with Lance Ferguson, the Soft Goods Industrial Designer. The two were tasked with curating a database of all the mask designs floating about the internet and coming up with one universal design which was effective, comfortable, easy for beginners to sew and great for experts to mass produce.
Off To The Races, Onto The Faces
Thirty days later, after several prototypes and tests, they had created the perfect design along with a “how to” video to boot — complete with captions, examples and narrated instructions. Donen then found a way to become further involved, “Since I live in the Denver/Aurora area, I offered to be a ‘hub captain’ — so people drop off and pick up at my place every Sunday — with all COVID-19 precautions in place, of course.” A typical Sunday will have folks who are donating materials dropping off, people dropping off batches of completed masks, and organizations in need of masks picking up requested orders.
Although her professional career was still on hold, Donen quickly discovered that she was gaining valuable experience not only as a designer, but as a coordinator, an administrator and a team leader. “Where I could have become isolated (due to COVID-19 shutdown) I was actually becoming more and more connected to people in my industry.”
“This is a big organization,” Donen explains, “with a marketing team, lawyers, clinical testers, shipping departments, request receiving departments and a lot more.” Ever the driven innovator, Donen then created a child-sized version of the Make4Covid model with a “cord lock” for the ear straps and an overall smaller design.
An Inspiring Perspective
Thus far, Make4Covid has sewn and distributed over 20,000 masks for COVID-19 prevention in the Denver area and more than 50,000 overall. Donen’s design is an open source model available to anyone and everyone who wants and/or needs to make masks. Currently, there is a network of volunteers making masks for family, for professionals in their personal circle and even as a way to make a few bucks — which is perfect for those who have lost work due to the shutdown.
Donen offers some words of wisdom after her first year in the private sector: “Anyone still struggling with ‘what’s next’ or ‘what do I do’ since their careers may have been interrupted — I encourage you to reach out and see where your skills can be used. You can still have a purpose and make a difference and maybe even become part of an organization of like-minded people. Before you give up, seek guidance from someone who can offer an outside perspective.”
The Story Of A “Sewist”
Somewhere along the way, the Make4Covid mask-sewing volunteers were given the nickname of “Sewists” — a term of endearment, no doubt, for folks donating their time and effort for the greater good. One such volunteer is Sammie Hamilton, a longtime friend of Samantha Donen who was drawn into the Make4Covid movement through Donen’s enthusiasm and gung-ho attitude. “She is this driving force — she really inspired me,” recalls Hamilton, an experienced jeweler skilled in the mediums of copper, silver and brass. “I dusted off an old sewing machine, looked at the directions and got to work — and I don’t even sew!” Sammie and husband Tate are long-standing stalwarts of the Denver arts and music scene. “One thing we have learned is adaptability. That’s a hallmark of the art world.”
A sampling of masks from Sammie Hamilton — a “Sewist” for Make4Covid.
Hamilton sews masks nearly every day, donating anywhere from 25 to 50 per week and even making a few on the side to sell where and when she can simply through word of mouth — no website, no Twitter account, no Instagram — just by reaching out to other people personally. She sees her involvement in Make4Covid as a silver lining of sorts: “She [Donen] challenged me in a very soft, very quiet way … and that’s what has kept me going from April until now.”
Enter The “Stitch Ninjas”
Meanwhile, by mid-March 2020, another Denver group had surfaced with a similar directive. The Denver Mask Task Force was started by Amanda Glen, who saw the need for PPE and drew inspiration from her mother’s quilting group on Facebook. Volunteers making masks for medical professionals were dubbed “Stitch Ninjas” and can currently order a sew kit at denvermask taskforce.com and get started asap. Currently, the group is run by Sara Spery and volunteer partner Amy Perlman. Thus far, Spery reports having donated 42,000 masks to medical providers.
The Denver Mask Task Force “Stitch Ninjas” are making a huge difference across the Mile High City.
The group launched with a small grant of 10K and a slew of donated start-up materials. A local arts and crafts supplier, Fancy Tiger Crafts, (59 Broadway, Denver, CO 80203) heard about the Denver Mask Task Force and reached out to help by sharing their network of fabric and textile manufacturers for soliciting donations. “One of the coolest things from this experience” Spery attests, “is that it has given people’s lives purpose and meaning, whether it is an elderly person who can’t leave home who is sewing masks or a person with a car who is delivering them.”
The company’s business model is a hybrid concept, with the directive of donating time, materials and finished products to the medical field while marketing high-quality, breathable, washable, reusable masks to the general public. An inspiring effort indeed, to see a new business forming rather than another one shutting down. “I was in it from the get-go,” Spery continues, “I was bored, I had nothing to do — so I had nothing to lose.”
As a result of a bevy of Denver ballot issues, the November election was consequential for the future of Denver although the election as it relates to Denver got relatively little attention. First and foremost, the strong mayor form of government first adopted in 1904 when Denver became the City and County of Denver is for all intents and purposes badly damaged. Michael Hancock has been easily elected three times as mayor of the Mile High City but appears to be nonetheless widely despised by his Denver constituents as the election demonstrated.
The powers taken from the mayor’s office and given to the City Council are not small or inconsequential as generally reported in the Denver press and they are just the beginning.
First, in Ballot Measure 2E, backed by Councilwoman Amanda Sawyer, the voters removed the mayor’s ability to hire people for a number of important positions including the chief of police, sheriff, fire chief, city attorney, public health director, parks director, aviation director and the planning and development manager. The mayor would still select and oversee those appointees. Incumbent appointees serving when a new mayor is sworn in would still be subject to approval. Hancock argued against the proposal saying it would make it much more difficult to recruit qualified people. Nobody seemed to care. Few were overly impressed by his hires in the first place. Before, people in those positions could simply ignore the City Council and the public in general and only had to do the mayor’s bidding. No more.
Next in Ballot Measure 2G the voters took away the mayor’s unfettered control over the city budget. The mayor’s office prepares the budget and if the City Council alters it in any manner, he can use his veto power and it takes a super majority (9 out 13) to override the veto. Only the mayor could initiate any changes during the year. Councilwoman Robin Kniech saw an opening and pushed a charter change allowing the Council to appropriate new or excess revenues and transfer unspent money throughout the city. It’s now a new ball game.
Hancock not only strenuously opposed 2E and 2G, he even trotted out the old war horse, former Mayor Wellington Webb (along with Webb’s wife Wilma), to lead the opposition to the changes but no avail, both passed relatively easily.
But the City Council was not done hacking away at Hancock. Councilwoman Debbie Ortega pushed Ballot Measure 2C which the voters approved giving the Council the right to hire their own professionals including attorneys without the need to rely on Administration officials who at least used to be solely dependent on the mayor. This may sound insignificant, but it is not. Fights like the one over Hancock sexually harassing female employees will no longer be one sided affairs with the mayor holding all the cards.
Denver citizens had become sick and tired of Hancock and his developer cronies totally ignoring transportation issues. For massive development projects the administration would not even do traffic studies on the effect of the development because it might come out negative. In 2019 the voters approved a charter change which turned the Department of Public Works into the Department of Transportation and Infrastructure (DOTI) effective January 1, 2020. Hancock in response, using his executive power created Multimodal, Pedestrian and Bicycle advisory committees which he of course appointed all of the members. Councilwoman Ortega decided that was a bad idea so she proposed another charter change Ballot Measure 2D whereby there would be a DOTI Advisory Committee comprised of 19 individuals of which the mayor would be able to appoint only six members while the City Council would have the ability to appoint the remaining 13. The voters also liked that idea although it is unclear what, if any, powers the advisory committee would have.
The final insult to the mayor was Ballot Measure 2J. In 1989 Denver adopted a pit bull ban. Earlier this year, the Council revoked the ban, but Hancock vetoed the measure and there were not enough votes to override the veto. Councilman Chris Herndon refused to concede defeat and had the Council refer the matter to the voters who backed Herndon and pit bulls over Hancock.
In the end the Council and the members who oppose Hancock won every measure and Hancock lost every last one. The general commentary has been that Hancock and the mayor’s office had its sails trimmed back, but no big deal. They say Hancock did not try very hard, but of course, he never tries very hard at anything. A weak mayor, Michael Hancock has effectively begun the destruction of Denver’s strong mayor form of government. Given its amazing victories, the City Council will be back in the next election to do some more sail trimming.
We agree with the City Council members who fight the mayor and the voters who gave Hancock a political spanking. When a character like Michael Hancock uses three terms as mayor and all the powers the City Charter gives him to reward and line the pockets of the high-density developers who controlled him, it was time to change the Charter. Hancock has almost three more years to continue to destroy a once beautiful city. Hopefully, he will spend that time to continue to chase women, but the high-density developers are not likely to rest until they have exploited every last dollar destroying a wonderful city that past mayors help build.
