While I had thought that writing about the effects on the global pandemic on the music industry was done, that the folks from Pfizer and Moderna had put the proverbial pin in it with the remarkable release of their vaccines, here we are again.
On a seven-day rolling average, the number of COVID cases in the U.S. the last week of July 2021 was higher than the number during the same period in July 2020 according to the Centers for Disease Control, 72,790 vs. 68,700. That’s right. Even though vaccines didn’t become available until December 2020, there are more cases now than there were before that date.
Still, it seems as though it is over. Seems.
Last week I attended a business conference at which there were some 400 attendees who spent several hours in a large room. These were primarily mid- and upper-level managers; were someone to have walked into the room and shouted, “REO Speedwagon is playing in the casino down the street!” there would have been a stampede the likes of which would have made George Costanza seem like a fire marshal.
The number of masks on the attendees could have been counted on one hand. The size of the room and the number of participants offered reasonable distancing, but there were chairs setup such that you could sit as close to the person sitting next to you as you would like. The lunches—the organizers boasted that they were “plated” rather than buffets—were setup as though it was a large wedding circa 2019.
Maybe this is what could be described as “whistling past the ICU.”
It’s over, right?
See the second paragraph, above.
What got me thinking about this was news out of the UK this week that the Johnson government is establishing a £750-million insurance plan that will go into effect next month, the purpose of which is cover concert promoters should government restrictions cause the cancellation of concerts.
Not everyone agrees.