They use the term “the streets” as a catch-all for beat reporters who “work them,” but you don’t actually have to be ON the streets for it. But this week for reporting with my latest new employer, VICE, we were literally on the streets of Santa Monica and Venice, with the homeless. The official number of those experiencing homelessness in LA County is something like 66,000.
For me this was a return to the field — or streets — for the first time since the original stay-at-home order hit California in early March. I’m working with VICE News as a correspondent on the West coast now, made possible by becoming a project person earlier this year. (I’m not contractually tied to any org exclusively anymore, wheeeee!)
The crew and I were talking over tacos on Wednesday, saying we were honored to be telling a story about the emergency effort to get vulnerable homeless off the streets as the virus raged, because it’s an opportunity to tell the stories and flesh out those experiencing homelessness. Humanizing people who so often go unseen in our communities even though they live among us and are full and complex human beings, is what journalism is here for.
But of course, reporting during COVID19 is a different, eerie ballgame. We had risk assessment people monitoring us and our reporting environs. We had a doctor who made sure we kept enough distance or that we were never in any indoor space for longer than a few minutes. We were sanitizing nonstop, we were temperature checked everywhere, we were gloved and SO masked that I will technically be appearing on your television but largely unseen, because I and others are all masked, all the time.
So much delight to note from behind the scenes: I love watching documentary camera men do the dance of keeping out of each other’s shots and figuring out who is going to position where, all while rolling on the action. They just gesture at each other and communicate with their silent movements. I love our LA native musician who worked sound, Defari, who made all our mics invisible. I love being with a crew again, especially a producer who handled all the logistics and booking and planning and made sure that if I missed a question, it was covered.
Sarah the producer and I became fast friends and ended up laughing over drinks on patios after each long shoot day; it made this upside down time in our upside down world feel a little bit normal, and that’s a huge gift.