Minnesota, Amy Castro, Center For Guaranteed Income Research discussed on Marketplace with Kai Ryssdal

Automatic TRANSCRIPT

He could think of. He wrote a song about it. Yeah. They tell me mo money mo problems, baby I disagree. It's no money all problems in the life that we be like money can't buy happiness. You should come shopping with me the sad truth is the better things in life ain't free. Literally all of these problems that you have with family with cars with mental health with content can, in some shape way or form be solved with money and I hate it when people demonize it. West sold off thousands of dollars of speakers, DJ controllers, and synthesizers to pay his bills. And then, just when he thought he'd hit the bottom. He got an email from springboard for the arts, a nonprofit in Minnesota, saying he'd been selected for its guaranteed income pilot. $500 a month for 18 months, no strings attached. I've literally been using it to restart or kickstart my career from a bit of a dead zone. West bought back his DJ equipment. He put some money into maintaining his SUV, which he uses to haul gear to events, and some of the stipend has gone to basics like groceries. This is one of the things that can make income programs controversial. Recipients aren't necessarily required to use the money in a specific way. They don't even have to put it towards making art. Amy Castro co directs the center for guaranteed income research at the University of Pennsylvania, which is partnering with the pilot in Minnesota. No, people aren't required to sort of continue to demonstrate that they are producing a particular art piece. Or that there's no juried competition to see who is producing the better public art installation. To qualify for the program in Minnesota, artists had to show they'd been adversely affected by the pandemic. Artists of color were prioritized, but beyond that, recipients were selected at random. Castro says that's the whole point to not decide whether an artist is good or bad, but to give them an opportunity to grow. The existing art world functions not on trying to create space and equality around who gets to produce who gets access to funding who gets gallery space. And what these projects are offering is something completely different. But like any experiment, the private foundation's funding these programs will want to understand the results, which means the programs have to measure some kind of outcome. Sarah Calderon is the executive director of creatives rebuild New York. Does it help them produce more work to participate in more shows? Does it help them get the next grant, get the next thing? Creatives rebuild New York has two income pilots, a guaranteed income program, and an employment program that gives artists a $65,000 salary per year for two years. Playwright Jesse Jay hoon was chosen to work on new productions and community events for Asian Americans with my theater company in New York City. It means no more three, I'm writing sessions to work around his daytime admin job, creating is now his full-time job. Which is one of the most valuable things for an artist is just having the time to really flesh out your process and your creative work. And he admits he's really looking forward to the health insurance benefit. The first thought I had was, oh my God, I can get new glasses. I can get a teeth cleaning. He says that will give him the mental space he needs to make better work. I'm Kristen Schwab for marketplace. The big Supreme Court decision last week West Virginia versus EPA was about a whole lot more than just what the executive branch can do to regulate the pollution that is warming this planet. We talked about it that day. What the decision means for the administrative state and how this entire economy runs. But yes, in the short term, The White House now does have a trickier path to trying to control climate change. And while the politics in bureaucracy of that decision play out, the earth is being damaged. Now, in real time. Case in point for us today, the oceans, the world meteorological organization reported earlier this year that thanks to us, humans, right? Oceans are the most acidic they've been in 26,000 years, and that is going to have economic consequences, particularly as marketplaces to breed beneficial reports for the shellfish industry. Whisky creek, oyster hatchery, is on the Oregon coast. This is where baby oysters are hatched and raised, and then sold to oyster farms throughout the Pacific Northwest. This is Alan Barton at whisky creek. And the sound you're hearing is our pumps pumping in about 200 gallons a minute of seawater into the hatchery. Barton is the production manager there. The seawater comes in gets treated, goes into tanks where the oysters are hatched. Martin grows vats of green and brown algae to feed them. After nearly 30 years of doing this, back in 2007, something started to go wrong. Entire crops of baby oysters normally swimming around just died. We saw the causes were things like bacteria, disease. So they treated the water for bacteria. 2008, we essentially lost all the larvae in the tire hatchery, $100,000 worth of product and just all went to the bottom. All was in 48 hours or so. The cause, it turned out, was the water itself. More acidic water from deeper in the ocean was upwelling into their water source, driven by seasonal winds. The lower PH, meaning more acidic water was driving changes in the mineral composition of the water, killing the oyster babies. Deeper water is naturally more acidic than surface water and upwelling is a natural event, but human caused emissions are increasing the background level of acidity and may have tipped those natural conditions just past what the oyster larvae could bear. The ocean takes up about 25 to 30% of the carbon dioxide that is emitted. And in doing so, it lowers the PH of the ocean. George wall buster is Professor of ocean ecology and biogeochemistry at Oregon state university. It also lowers something we call saturation state, which is how corrosive the water is to calcium carbonate minerals or shells. He says the PH of open ocean water has fallen since CO2 emissions ramped up with industry about a hundred years ago from 8.1 to 8.0. It sounds small, and what that actually translates to is a 30% increase in acidity. Shannon misak studies the effects of CO2 in the water. She's a research chemist for.

Coming up next