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"content": "\u003cp>A controversial mural at a San Francisco high school is getting increased attention just as it’s about to be covered up.\u003c/p>\n\u003cp>[aside postID=\"arts_13860237,arts_13854510,news_11756796\"]Hundreds of people squeezed into the main lobby of George Washington High School on Thursday afternoon to catch a final glimpse of San Francisco artist Victor Arnautoff’s \u003cem>Life of Washington\u003c/em> mural.\u003c/p>\n\u003cp>The vibrant fresco that has adorned the walls of the school since 1935 is rarely on public view. A spokeswoman for the San Francisco Unified School District said officials decided to allow the public to view the mural during a two-hour window in response to multiple requests from individuals.\u003c/p>\n\u003cp>Locals, like Myron Lee, were excited to finally see it. “I’m very interested to see what got the whole city in a tizzy,” he said.\u003c/p>\n\u003cp>The 1600-square-foot mural has been a topic of debate for decades. In the 1960s, the school’s Black Student Union campaigned to have the work removed, protesting its depiction of oppressed African- and Native Americans.\u003c/p>\n\u003cfigure id=\"attachment_11765102\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/2019/08/02/public-gets-final-glimpse-of-controversial-life-of-washington-mural/francee-covington/\" rel=\"attachment wp-att-11765102\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11765102\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/Francee-Covington.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Francee-Covington.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Francee-Covington-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Francee-Covington-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Francee-Covington-536x402.jpg 536w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco resident Francee Covington believes the mural should go. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the outcry against the work has grown in recent months, leading to the Board of Education’s \u003ca href=\"https://www.kqed.org/arts/13860237/this-is-reparations-s-f-school-board-votes-to-paint-over-controversial-high-school-mural\" target=\"_blank\" rel=\"noopener\">unanimous decision\u003c/a> earlier this summer to remove it.\u003c/p>\n\u003cp>“We can’t pretend that the Founding Fathers included everyone in their vision of what liberty and justice looked like,” said San Francisco resident Francee Covington. “Because they did not.” She agreed that the mural should go.\u003c/p>\n\u003cp>Others argue the artwork should stay. Among them was 13-year-old Berkeley student Donatella Donovan. She said \u003cem>Life of Washington\u003c/em> depicts American history in a truthful way.\u003c/p>\n\u003cfigure id=\"attachment_11765103\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/2019/08/02/public-gets-final-glimpse-of-controversial-life-of-washington-mural/donatella-donovan/\" rel=\"attachment wp-att-11765103\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11765103\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/Donatella-Donovan.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Donatella-Donovan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Donatella-Donovan-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Donatella-Donovan-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Donatella-Donovan-536x402.jpg 536w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Berkeley student Donatella Donovan thinks the mural should stay. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s meant to show the history of our country that a lot of people don’t want to recognize is there, because they’re ashamed of it,” said Donovan, adding she also thought it should stay because it’s beautiful.\u003c/p>\n\u003cp>A San Francisco Unified School District spokeswoman said the Board of Education has not yet decided when to go ahead with the removal, or whether to use paint or solid panels to cover it up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hundreds of people squeezed into the main lobby of George Washington High School on Thursday afternoon to catch a final glimpse of San Francisco artist Victor Arnautoff’s \u003cem>Life of Washington\u003c/em> mural.\u003c/p>\n\u003cp>The vibrant fresco that has adorned the walls of the school since 1935 is rarely on public view. A spokeswoman for the San Francisco Unified School District said officials decided to allow the public to view the mural during a two-hour window in response to multiple requests from individuals.\u003c/p>\n\u003cp>Locals, like Myron Lee, were excited to finally see it. “I’m very interested to see what got the whole city in a tizzy,” he said.\u003c/p>\n\u003cp>The 1600-square-foot mural has been a topic of debate for decades. In the 1960s, the school’s Black Student Union campaigned to have the work removed, protesting its depiction of oppressed African- and Native Americans.\u003c/p>\n\u003cfigure id=\"attachment_11765102\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/2019/08/02/public-gets-final-glimpse-of-controversial-life-of-washington-mural/francee-covington/\" rel=\"attachment wp-att-11765102\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11765102\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/Francee-Covington.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Francee-Covington.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Francee-Covington-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Francee-Covington-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Francee-Covington-536x402.jpg 536w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco resident Francee Covington believes the mural should go. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the outcry against the work has grown in recent months, leading to the Board of Education’s \u003ca href=\"https://www.kqed.org/arts/13860237/this-is-reparations-s-f-school-board-votes-to-paint-over-controversial-high-school-mural\" target=\"_blank\" rel=\"noopener\">unanimous decision\u003c/a> earlier this summer to remove it.\u003c/p>\n\u003cp>“We can’t pretend that the Founding Fathers included everyone in their vision of what liberty and justice looked like,” said San Francisco resident Francee Covington. “Because they did not.” She agreed that the mural should go.\u003c/p>\n\u003cp>Others argue the artwork should stay. Among them was 13-year-old Berkeley student Donatella Donovan. She said \u003cem>Life of Washington\u003c/em> depicts American history in a truthful way.\u003c/p>\n\u003cfigure id=\"attachment_11765103\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/2019/08/02/public-gets-final-glimpse-of-controversial-life-of-washington-mural/donatella-donovan/\" rel=\"attachment wp-att-11765103\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11765103\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/08/Donatella-Donovan.jpg\" alt=\"\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Donatella-Donovan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Donatella-Donovan-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Donatella-Donovan-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/08/Donatella-Donovan-536x402.jpg 536w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Berkeley student Donatella Donovan thinks the mural should stay. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s meant to show the history of our country that a lot of people don’t want to recognize is there, because they’re ashamed of it,” said Donovan, adding she also thought it should stay because it’s beautiful.\u003c/p>\n\u003cp>A San Francisco Unified School District spokeswoman said the Board of Education has not yet decided when to go ahead with the removal, or whether to use paint or solid panels to cover it up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Ghost Ship Trial Handed to Jury, Victims' Families Await Verdict",
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"content": "\u003cp>The jury began deliberations Wednesday afternoon in the trial of two men, each charged with 36 counts of involuntary manslaughter for the deadly 2016 Ghost Ship warehouse fire in Oakland.\u003c/p>\n\u003cp>The prosecution, \u003ca href=\"https://www.kqed.org/news/11763874/ghost-ship-victims-had-no-notice-and-no-exits-prosecutors-repeat-in-closing-arguments\" target=\"_blank\" rel=\"noopener\">in closing arguments Monday\u003c/a>, said the actions of master tenant Derick Almena and Max Harris, who has been referred to as creative director and second-in-command, amounted to criminal negligence. They argued the warehouse was illegally converted into an unsafe living space with complete disregard for safety, violating nine fire codes.\u003c/p>\n\u003cp>Alameda County Deputy District Attorney Autrey James argued Monday that the 35 concertgoers and one tenant who died the night of an electronic music party on Dec. 2, 2016, didn't have enough notice, time or the ability to exit, due to a lack of sprinklers, smoke detectors, alarms and adequate exit signage.\u003c/p>\n\u003cp>[aside tag=\"ghost-ship-trial\" label=\"More Ghost Ship Trial Coverage\"]\u003c/p>\n\u003cp>James also argued that Almena almost immediately violated the terms of the lease he signed in November 2013, by allowing people to live there.\u003c/p>\n\u003cp>The defense, \u003ca href=\"https://www.kqed.org/news/11764170/ghost-ship-defense-says-many-violations-pre-dated-max-harris-living-at-warehouse\" target=\"_blank\" rel=\"noopener\">in closing arguments Tuesday, \u003c/a>pointed to testimony by many former tenants and visitors who said they felt the Ghost Ship was safe.\u003c/p>\n\u003cp>The defense also argued that personnel from several agencies, including Oakland's police and fire departments, as well as Child Protective Services, had passed through the warehouse dozens of times in the years leading up to the fire and had never flagged the building, never red-tagged it or issued any eviction notices.\u003c/p>\n\u003cp>Both Curtis Briggs, who represents Harris, and Tony Serra, who represents Almena, also argued Tuesday that testimony by at least seven witnesses pointed to arson as the cause of the deadly conflagration, and that Almena and Harris couldn't have done anything to prevent it.\u003c/p>\n\u003ch2>Prosecution Rebuts Defense's Closing Arguments\u003c/h2>\n\u003cp>On Wednesday, Alameda County Deputy District Attorney Autrey James gave his rebuttal to the defense's closing arguments, disputing testimony that the Ghost Ship was safe.\u003c/p>\n\u003cp>\"If the place was safe, why aren't those 36 people here with us today?\" James asked, while showing an image of all 36 victims on a court TV. \"Because it was a death trap to 36 people.\"\u003c/p>\n\u003cp>He asked why Almena had suggested to Ghost Ship tenants that they buy fire extinguishers, and why there were rules against open flames in the warehouse.\u003c/p>\n\u003cp>James then went on to rebut a list of arguments posed by the defense on Tuesday.\u003c/p>\n\u003cp>Pointing to a blank black screen on an unused court display, James said it represented the amount of evidence supporting arson as the cause of the blaze.\u003c/p>\n\u003cp>\"There is no evidence of reasonable doubt because of arson,\" James said. \"What do reasonable people do in a fire? They run out. That's what reasonable people do.\"\u003c/p>\n\u003cp>In part, the jury's instructions say that if previous testimony regarding arson raises a reasonable doubt as to the defendants' guilt, then they must find the defendants not guilty.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>James was specifically taking aim at previous testimony several witnesses gave about a group of unidentified individuals fleeing through a side exit following an argument just before the fire began. He also said testimony showed there was no evidence of Molotov cocktails being used the night of the fire, as Serra has conjectured.\u003c/p>\n\u003cp>He also disputed \u003ca href=\"https://www.kqed.org/news/11753779/ghost-ship-trial-defense-calls-key-witness-to-support-arson-claim\" target=\"_blank\" rel=\"noopener\">testimony from Sharon Evans\u003c/a>, who said she saw the fire between 9 p.m. and 9:30 p.m. Witness testimony puts the fire's ignition after 11 p.m. Official accounts put it closer to 11:20 p.m. James also said Evans' testimony about driving around the warehouse 20 times as it burned, noticing no fire engines or people outside, wasn't reasonable.\u003c/p>\n\u003cp>\"Ms. Evans' story was not believable,\" James said.\u003c/p>\n\u003cp>James also argued against statements made by Almena's defense attorney Serra, in which Serra called the whole prosecution a \"scam,\" and said Almena was a scapegoat for the city.\u003c/p>\n\u003cp>\"The only conspiracy in this case was by the occupants [to lie about occupancy],\" James said.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation=\"Colleen Dolan, mother of Ghost Ship fire victim Chelsea Faith Dolan\"]'Our lost family members brought us together, because they loved and they respected each other and they were together for a reason. ... And we honor that by standing up for each other.'[/pullquote]\u003c/p>\n\u003cp>He also said the defendants were going to point fingers at anyone else, including landlords Kai and Eva Ng, Ben Cannon, who did electrical work at the warehouse, and the city of Oakland.\u003c/p>\n\u003cp>\"Not once have [the defendants] taken responsibility,\" James said, and then played video of Almena giving an interview to a local TV station in which he said the \"whole structure of my defense is pointing and blaming.\"\u003c/p>\n\u003cp>Almena \u003ca href=\"https://www.kqed.org/news/11760427/ghost-ship-defendant-says-he-wont-blame-anybody-for-deadly-warehouse-fire\" target=\"_blank\" rel=\"noopener\">testified previously\u003c/a> that he didn't blame anybody for the fire.\u003c/p>\n\u003cp>James also pointed to a law saying that it's not a defense if a defendant doesn't know the law. He argued that not knowing the law is thus not a defense to involuntary manslaughter, pointing to violations of fire code.\u003c/p>\n\u003cp>He also assailed the idea that since the fire and police departments, as well as Child Protective Services, had passed through the Ghost Ship and hadn't cited the building, that Almena and Harris should have concluded that everything they were doing was OK.\u003c/p>\n\u003cp>James said CPS are not building inspectors, that police have no training in building codes, and that while fire personnel are responsible for inspecting buildings, it is the role of building inspectors to shut a building down.\u003c/p>\n\u003ch2>Victims' Families and Friends Wait for Verdict\u003c/h2>\n\u003cp>Outside court, approximately 20 relatives and friends of the victims gathered to address the media.\u003c/p>\n\u003cp>Colleen Dolan, mother of fire victim Chelsea Faith Dolan, said the victims' relatives had become a family.\u003c/p>\n\u003cp>\"We were brought together by our loved ones,\" Dolan said.\u003c/p>\n\u003cp>\"Our lost family members brought us together, because they loved and they respected each other, and they were together for a reason. They were together because their relationships with each other were important to them. And we honor that by standing up for each other.\"\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/news/tag/ghost-ship-trial\" target=\"_blank\" rel=\"noopener\">Read KQED's complete coverage of the Ghost Ship trial.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The jury began deliberations Wednesday afternoon in the trial of two men, each charged with 36 counts of involuntary manslaughter for the deadly 2016 Ghost Ship warehouse fire in Oakland.\u003c/p>\n\u003cp>The prosecution, \u003ca href=\"https://www.kqed.org/news/11763874/ghost-ship-victims-had-no-notice-and-no-exits-prosecutors-repeat-in-closing-arguments\" target=\"_blank\" rel=\"noopener\">in closing arguments Monday\u003c/a>, said the actions of master tenant Derick Almena and Max Harris, who has been referred to as creative director and second-in-command, amounted to criminal negligence. They argued the warehouse was illegally converted into an unsafe living space with complete disregard for safety, violating nine fire codes.\u003c/p>\n\u003cp>Alameda County Deputy District Attorney Autrey James argued Monday that the 35 concertgoers and one tenant who died the night of an electronic music party on Dec. 2, 2016, didn't have enough notice, time or the ability to exit, due to a lack of sprinklers, smoke detectors, alarms and adequate exit signage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>James also argued that Almena almost immediately violated the terms of the lease he signed in November 2013, by allowing people to live there.\u003c/p>\n\u003cp>The defense, \u003ca href=\"https://www.kqed.org/news/11764170/ghost-ship-defense-says-many-violations-pre-dated-max-harris-living-at-warehouse\" target=\"_blank\" rel=\"noopener\">in closing arguments Tuesday, \u003c/a>pointed to testimony by many former tenants and visitors who said they felt the Ghost Ship was safe.\u003c/p>\n\u003cp>The defense also argued that personnel from several agencies, including Oakland's police and fire departments, as well as Child Protective Services, had passed through the warehouse dozens of times in the years leading up to the fire and had never flagged the building, never red-tagged it or issued any eviction notices.\u003c/p>\n\u003cp>Both Curtis Briggs, who represents Harris, and Tony Serra, who represents Almena, also argued Tuesday that testimony by at least seven witnesses pointed to arson as the cause of the deadly conflagration, and that Almena and Harris couldn't have done anything to prevent it.\u003c/p>\n\u003ch2>Prosecution Rebuts Defense's Closing Arguments\u003c/h2>\n\u003cp>On Wednesday, Alameda County Deputy District Attorney Autrey James gave his rebuttal to the defense's closing arguments, disputing testimony that the Ghost Ship was safe.\u003c/p>\n\u003cp>\"If the place was safe, why aren't those 36 people here with us today?\" James asked, while showing an image of all 36 victims on a court TV. \"Because it was a death trap to 36 people.\"\u003c/p>\n\u003cp>He asked why Almena had suggested to Ghost Ship tenants that they buy fire extinguishers, and why there were rules against open flames in the warehouse.\u003c/p>\n\u003cp>James then went on to rebut a list of arguments posed by the defense on Tuesday.\u003c/p>\n\u003cp>Pointing to a blank black screen on an unused court display, James said it represented the amount of evidence supporting arson as the cause of the blaze.\u003c/p>\n\u003cp>\"There is no evidence of reasonable doubt because of arson,\" James said. \"What do reasonable people do in a fire? They run out. That's what reasonable people do.\"\u003c/p>\n\u003cp>In part, the jury's instructions say that if previous testimony regarding arson raises a reasonable doubt as to the defendants' guilt, then they must find the defendants not guilty.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>James was specifically taking aim at previous testimony several witnesses gave about a group of unidentified individuals fleeing through a side exit following an argument just before the fire began. He also said testimony showed there was no evidence of Molotov cocktails being used the night of the fire, as Serra has conjectured.\u003c/p>\n\u003cp>He also disputed \u003ca href=\"https://www.kqed.org/news/11753779/ghost-ship-trial-defense-calls-key-witness-to-support-arson-claim\" target=\"_blank\" rel=\"noopener\">testimony from Sharon Evans\u003c/a>, who said she saw the fire between 9 p.m. and 9:30 p.m. Witness testimony puts the fire's ignition after 11 p.m. Official accounts put it closer to 11:20 p.m. James also said Evans' testimony about driving around the warehouse 20 times as it burned, noticing no fire engines or people outside, wasn't reasonable.\u003c/p>\n\u003cp>\"Ms. Evans' story was not believable,\" James said.\u003c/p>\n\u003cp>James also argued against statements made by Almena's defense attorney Serra, in which Serra called the whole prosecution a \"scam,\" and said Almena was a scapegoat for the city.\u003c/p>\n\u003cp>\"The only conspiracy in this case was by the occupants [to lie about occupancy],\" James said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "'Our lost family members brought us together, because they loved and they respected each other and they were together for a reason. ... And we honor that by standing up for each other.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He also said the defendants were going to point fingers at anyone else, including landlords Kai and Eva Ng, Ben Cannon, who did electrical work at the warehouse, and the city of Oakland.\u003c/p>\n\u003cp>\"Not once have [the defendants] taken responsibility,\" James said, and then played video of Almena giving an interview to a local TV station in which he said the \"whole structure of my defense is pointing and blaming.\"\u003c/p>\n\u003cp>Almena \u003ca href=\"https://www.kqed.org/news/11760427/ghost-ship-defendant-says-he-wont-blame-anybody-for-deadly-warehouse-fire\" target=\"_blank\" rel=\"noopener\">testified previously\u003c/a> that he didn't blame anybody for the fire.\u003c/p>\n\u003cp>James also pointed to a law saying that it's not a defense if a defendant doesn't know the law. He argued that not knowing the law is thus not a defense to involuntary manslaughter, pointing to violations of fire code.\u003c/p>\n\u003cp>He also assailed the idea that since the fire and police departments, as well as Child Protective Services, had passed through the Ghost Ship and hadn't cited the building, that Almena and Harris should have concluded that everything they were doing was OK.\u003c/p>\n\u003cp>James said CPS are not building inspectors, that police have no training in building codes, and that while fire personnel are responsible for inspecting buildings, it is the role of building inspectors to shut a building down.\u003c/p>\n\u003ch2>Victims' Families and Friends Wait for Verdict\u003c/h2>\n\u003cp>Outside court, approximately 20 relatives and friends of the victims gathered to address the media.\u003c/p>\n\u003cp>Colleen Dolan, mother of fire victim Chelsea Faith Dolan, said the victims' relatives had become a family.\u003c/p>\n\u003cp>\"We were brought together by our loved ones,\" Dolan said.\u003c/p>\n\u003cp>\"Our lost family members brought us together, because they loved and they respected each other, and they were together for a reason. They were together because their relationships with each other were important to them. And we honor that by standing up for each other.\"\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/news/tag/ghost-ship-trial\" target=\"_blank\" rel=\"noopener\">Read KQED's complete coverage of the Ghost Ship trial.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Updated 6:40 p.m.\u003c/em>\u003c/p>\n\u003cp>Defense attorneys representing two men each charged with 36 counts of involuntary manslaughter in the deadly 2016 Oakland Ghost Ship warehouse fire wrapped up their closing arguments Tuesday.\u003c/p>\n\u003cp>The prosecution, \u003ca href=\"https://www.kqed.org/news/11763874/ghost-ship-victims-had-no-notice-and-no-exits-prosecutors-repeat-in-closing-arguments\" rel=\"noopener\" target=\"_blank\">in their closing arguments Monday\u003c/a>, said that the actions of master tenant Derick Almena and Max Harris, who has been described as creative director or second-in-command of the Ghost Ship, amounted to criminal negligence. The prosecution argued they converted the warehouse into an unsafe living space with no concern for fire safety, violating nine fire codes including not installing sprinklers and other safety measures. The prosecution on Monday also said Almena had violated the terms of the lease almost immediately by allowing people to live there.\u003c/p>\n\u003cp>Rebuttal from the prosecution is expected Wednesday morning. The jury will begin deliberations afterward.\u003c/p>\n\u003cp>Read about closing arguments for each defendant below.\u003c/p>\n\u003cp>\u003cstrong>Closing Arguments on Behalf of Derick Almena\u003c/strong>\u003c/p>\n\u003cp>Tony Serra, who represents Almena, argued Tuesday that arson was the cause of the blaze that killed 35 concert-goers and one tenant the night of an electronic music party on Dec. 2, 2016.\u003c/p>\n\u003cp>[aside tag=\"ghost-ship-trial\" label=\"More Ghost Ship Trial Coverage\"]\u003c/p>\n\u003cp>He pointed back to \u003ca href=\"https://www.kqed.org/news/11753779/ghost-ship-trial-defense-calls-key-witness-to-support-arson-claim\" rel=\"noopener\" target=\"_blank\">testimony from Sharon Evans\u003c/a> who said she overheard a group of men in dark clothing boasting about the fire and how quickly it had spread. He also pointed \u003ca href=\"https://www.kqed.org/news/11759655/witness-says-he-heard-breaking-bottles-argument-on-night-of-deadly-ghost-ship-blaze\" rel=\"noopener\" target=\"_blank\">to testimony from former tenant Darold Leite\u003c/a>, who testified he heard an argument, bottles breaking and seven to eight men who left in a hurry. Serra also brought up other testimony by individuals who say they heard an argument the night of the blaze.\u003c/p>\n\u003cp>Serra also argued that Oakland fire personnel had perjured themselves during testimony. That included Maria Sabatini, an Oakland fire investigator who said she had not entered the Ghost Ship following an alleged arson fire outside the warehouse on Sept. 26, 2014. The testimony contradicts that of five others who said that Sabatini had entered the warehouse to inspect it then.\u003c/p>\n\u003cp>“The fire department has misled, misstated in some instances, in some instance lied and perjured themselves,” Serra said.\u003c/p>\n\u003cp>“Why would they perjure themselves?” Serra asked. He said it was because they knew people were living in the warehouse and it was their duty to red tag it if they found something wrong.\u003c/p>\n\u003cp>“If they admit they did nothing, Oakland would be liable,” Serra said. He called it a “conspiracy to protect Oakland,” and he said Almena was on the stand to create a scapegoat so civil liability could be deflected.\u003c/p>\n\u003cp>Serra argued that personnel from the Oakland Fire and Police departments, as well as from Child Protective Services, had been through the Ghost Ship dozens of times and never cited it. That gave Almena the impression that he was doing nothing wrong, Serra argued, adding that since officials gave the impression that nothing was wrong he could not have been acting in a reckless manner or with any disregard for life.\u003c/p>\n\u003cp>Serra also conceded there were violations to the fire code, but those did not amount to criminal negligence.\u003c/p>\n\u003cp>He said also reiterated that a number of former tenants testified they felt the building was safe and that it wasn’t a “death trap” or “tinderbox.”\u003c/p>\n\u003cp>Serra admitted his client had lied to police on a number of occasions about people living in the warehouse, but Serra argued that it was at the instruction of the landlords. He said landlord Eva Ng was responsible for obtaining permits for changes to the premises, and that’s why she instructed him to lie – to protect her and her brother Kai Ng’s interests.\u003c/p>\n\u003cp>Serra ended his closing arguments by putting up a large photo of Almena, his wife Micah Allison and their three children. \u003c/p>\n\u003cp>“Do you think he (Almena) would risk his children?” Serra asked. Was he reckless and indifferent? Absolutely not.”\u003c/p>\n\u003cp>\u003cstrong>Closing Arguments on Behalf of Max Harris\u003c/strong>\u003c/p>\n\u003cp>Defense attorney Curtis Briggs, who represents Max Harris, wrapped up his closing arguments Tuesday, arguing there is enough reasonable doubt to find his client not guilty in the deadly 2016 Oakland warehouse fire.\u003c/p>\n\u003cp>The prosecution \u003ca href=\"https://www.kqed.org/news/11763874/ghost-ship-victims-had-no-notice-and-no-exits-prosecutors-repeat-in-closing-arguments\" target=\"_blank\" rel=\"noopener\">concluded its closing arguments Monday\u003c/a>, arguing the defendants were criminally negligent in violating nine different fire codes, including not installing safety measures like sprinklers and fire alarms and holding unpermitted events like the one on Dec 2. The prosecution on Monday also said Almena had violated the terms of the lease almost immediately by allowing people to live there.\u003c/p>\n\u003cp>But Briggs pointed to the courtroom where the trial has been taking place since its preliminary rounds began in early April.\u003c/p>\n\u003cp>“There were no fire sprinklers inside (the warehouse). There are no fire extinguishers in here. Convict Max anyway,” Briggs told the jury. “There are no illuminated exit signs in this courtroom. There was one in the warehouse. Convict Max anyway.”\u003c/p>\n\u003cp>He also said that some of the fire codes that the prosecution argued were broken were actually the responsibility of the owners to implement.\u003c/p>\n\u003cp>Briggs argued Harris did not live in the Ghost Ship when the lease was signed, or when Almena began allowing people to live there. He also said Harris wasn’t there when a side fire door was installed or a set of stairs toward the front of the warehouse was built, both without the required permits.\u003c/p>\n\u003cp>Briggs laid out a list of people, saying they weren’t being convicted, including landlords Kai and Eva Ng, Ben Cannon, who did electrical work at the warehouse, and Jon Hrabko, who Briggs said organized the Dec. 2 event.\u003c/p>\n\u003cp>“They did not ask you to convict Kai or Eva Ng,” Briggs said, addressing the jury.\u003c/p>\n\u003cp>“They asked you to convict Max,” Briggs repeated after each person listed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He pointed to a number of fire and police officials who had been to the warehouse a number of times and had never flagged the building as a hazard.\u003c/p>\n\u003cp>He argued that Harris had no managerial role in the warehouse and noted the testimony of at least seven individuals who said as much.\u003c/p>\n\u003cp>“Max cleaned toilets, swept floors, did the dishes. Convict him,” Briggs said.\u003c/p>\n\u003cp>The defense \u003ca href=\"https://www.kqed.org/news/11744136/defense-in-ghost-ship-trial-asserts-evidence-will-show-arson-as-cause-of-deadly-fire\" target=\"_blank\" rel=\"noopener\">has argued\u003c/a> that the cause of the blaze, which was never determined by fire investigators, was an act of arson, and that the defendants could not have done anything to prevent it.\u003c/p>\n\u003cp>Briggs returned to the arson theory Tuesday, saying that at least seven witnesses had testified to its possibility, including: a woman who testified she heard nine to 14 men boasting about the fire getting out of hand quickly, a former tenant who heard an argument and bottles breaking before the fire began, and testimony from a couple of others who also said they heard an argument the night of the fire.\u003c/p>\n\u003cp>Briggs reminded the jury of their instructions, which say that if previous testimony regarding arson raises a reasonable doubt as to the defendants’ guilt, then they must find the defendants not guilty.\u003c/p>\n\u003cp>Briggs asked why no fire investigator, including staff from the Bureau of Alcohol, Firearms, Tobacco and Explosives, had asked about any suspicious people the night of the fire. He also asked why fire investigators hadn’t swabbed the scene after the fire for accelerants.\u003c/p>\n\u003cp>“Don’t you think you deserve that before you check the box ‘guilty?’ ” Briggs asked the jury.\u003c/p>\n\u003cp>“They were so sure they had the cause … electrical,” Briggs said. “They didn’t test anything else.”\u003c/p>\n\u003cp>Earlier in the trial, Bureau of Alcohol, Tobacco, Firearms and Explosives \u003ca href=\"https://www.kqed.org/news/11751300/ghost-ship-trial-defense-cross-examines-fire-investigator-in-attempt-to-show-arson-possibility\" target=\"_blank\" rel=\"noopener\">agent Barbara Maxwell testified\u003c/a> that investigators didn’t test debris for the presence of accelerants because they already expected to find flammable substances such as gasoline in the recreational vehicles parked inside the warehouse and used as studios, and paint thinner belonging to artist tenants.\u003c/p>\n\u003cp>On Tuesday, Briggs also said at least seven witnesses testified they considered the Ghost Ship safe. But he did return to the \u003ca href=\"https://www.kqed.org/news/11745555/ghost-ship-trial-witness-testifies-about-explosive-spread-of-deadly-fire\" target=\"_blank\" rel=\"noopener\">testimony of Rodney Griffin\u003c/a>, a former friend of Almena’s who called the warehouse a “death trap.” Briggs argued those statements were made before Harris began living at the Ghost Ship.\u003c/p>\n\u003cp>“I wish someone would have told Max there was a problem, because he would have done something about it,” Briggs said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated 6:40 p.m.\u003c/em>\u003c/p>\n\u003cp>Defense attorneys representing two men each charged with 36 counts of involuntary manslaughter in the deadly 2016 Oakland Ghost Ship warehouse fire wrapped up their closing arguments Tuesday.\u003c/p>\n\u003cp>The prosecution, \u003ca href=\"https://www.kqed.org/news/11763874/ghost-ship-victims-had-no-notice-and-no-exits-prosecutors-repeat-in-closing-arguments\" rel=\"noopener\" target=\"_blank\">in their closing arguments Monday\u003c/a>, said that the actions of master tenant Derick Almena and Max Harris, who has been described as creative director or second-in-command of the Ghost Ship, amounted to criminal negligence. The prosecution argued they converted the warehouse into an unsafe living space with no concern for fire safety, violating nine fire codes including not installing sprinklers and other safety measures. The prosecution on Monday also said Almena had violated the terms of the lease almost immediately by allowing people to live there.\u003c/p>\n\u003cp>Rebuttal from the prosecution is expected Wednesday morning. The jury will begin deliberations afterward.\u003c/p>\n\u003cp>Read about closing arguments for each defendant below.\u003c/p>\n\u003cp>\u003cstrong>Closing Arguments on Behalf of Derick Almena\u003c/strong>\u003c/p>\n\u003cp>Tony Serra, who represents Almena, argued Tuesday that arson was the cause of the blaze that killed 35 concert-goers and one tenant the night of an electronic music party on Dec. 2, 2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He pointed back to \u003ca href=\"https://www.kqed.org/news/11753779/ghost-ship-trial-defense-calls-key-witness-to-support-arson-claim\" rel=\"noopener\" target=\"_blank\">testimony from Sharon Evans\u003c/a> who said she overheard a group of men in dark clothing boasting about the fire and how quickly it had spread. He also pointed \u003ca href=\"https://www.kqed.org/news/11759655/witness-says-he-heard-breaking-bottles-argument-on-night-of-deadly-ghost-ship-blaze\" rel=\"noopener\" target=\"_blank\">to testimony from former tenant Darold Leite\u003c/a>, who testified he heard an argument, bottles breaking and seven to eight men who left in a hurry. Serra also brought up other testimony by individuals who say they heard an argument the night of the blaze.\u003c/p>\n\u003cp>Serra also argued that Oakland fire personnel had perjured themselves during testimony. That included Maria Sabatini, an Oakland fire investigator who said she had not entered the Ghost Ship following an alleged arson fire outside the warehouse on Sept. 26, 2014. The testimony contradicts that of five others who said that Sabatini had entered the warehouse to inspect it then.\u003c/p>\n\u003cp>“The fire department has misled, misstated in some instances, in some instance lied and perjured themselves,” Serra said.\u003c/p>\n\u003cp>“Why would they perjure themselves?” Serra asked. He said it was because they knew people were living in the warehouse and it was their duty to red tag it if they found something wrong.\u003c/p>\n\u003cp>“If they admit they did nothing, Oakland would be liable,” Serra said. He called it a “conspiracy to protect Oakland,” and he said Almena was on the stand to create a scapegoat so civil liability could be deflected.\u003c/p>\n\u003cp>Serra argued that personnel from the Oakland Fire and Police departments, as well as from Child Protective Services, had been through the Ghost Ship dozens of times and never cited it. That gave Almena the impression that he was doing nothing wrong, Serra argued, adding that since officials gave the impression that nothing was wrong he could not have been acting in a reckless manner or with any disregard for life.\u003c/p>\n\u003cp>Serra also conceded there were violations to the fire code, but those did not amount to criminal negligence.\u003c/p>\n\u003cp>He said also reiterated that a number of former tenants testified they felt the building was safe and that it wasn’t a “death trap” or “tinderbox.”\u003c/p>\n\u003cp>Serra admitted his client had lied to police on a number of occasions about people living in the warehouse, but Serra argued that it was at the instruction of the landlords. He said landlord Eva Ng was responsible for obtaining permits for changes to the premises, and that’s why she instructed him to lie – to protect her and her brother Kai Ng’s interests.\u003c/p>\n\u003cp>Serra ended his closing arguments by putting up a large photo of Almena, his wife Micah Allison and their three children. \u003c/p>\n\u003cp>“Do you think he (Almena) would risk his children?” Serra asked. Was he reckless and indifferent? Absolutely not.”\u003c/p>\n\u003cp>\u003cstrong>Closing Arguments on Behalf of Max Harris\u003c/strong>\u003c/p>\n\u003cp>Defense attorney Curtis Briggs, who represents Max Harris, wrapped up his closing arguments Tuesday, arguing there is enough reasonable doubt to find his client not guilty in the deadly 2016 Oakland warehouse fire.\u003c/p>\n\u003cp>The prosecution \u003ca href=\"https://www.kqed.org/news/11763874/ghost-ship-victims-had-no-notice-and-no-exits-prosecutors-repeat-in-closing-arguments\" target=\"_blank\" rel=\"noopener\">concluded its closing arguments Monday\u003c/a>, arguing the defendants were criminally negligent in violating nine different fire codes, including not installing safety measures like sprinklers and fire alarms and holding unpermitted events like the one on Dec 2. The prosecution on Monday also said Almena had violated the terms of the lease almost immediately by allowing people to live there.\u003c/p>\n\u003cp>But Briggs pointed to the courtroom where the trial has been taking place since its preliminary rounds began in early April.\u003c/p>\n\u003cp>“There were no fire sprinklers inside (the warehouse). There are no fire extinguishers in here. Convict Max anyway,” Briggs told the jury. “There are no illuminated exit signs in this courtroom. There was one in the warehouse. Convict Max anyway.”\u003c/p>\n\u003cp>He also said that some of the fire codes that the prosecution argued were broken were actually the responsibility of the owners to implement.\u003c/p>\n\u003cp>Briggs argued Harris did not live in the Ghost Ship when the lease was signed, or when Almena began allowing people to live there. He also said Harris wasn’t there when a side fire door was installed or a set of stairs toward the front of the warehouse was built, both without the required permits.\u003c/p>\n\u003cp>Briggs laid out a list of people, saying they weren’t being convicted, including landlords Kai and Eva Ng, Ben Cannon, who did electrical work at the warehouse, and Jon Hrabko, who Briggs said organized the Dec. 2 event.\u003c/p>\n\u003cp>“They did not ask you to convict Kai or Eva Ng,” Briggs said, addressing the jury.\u003c/p>\n\u003cp>“They asked you to convict Max,” Briggs repeated after each person listed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He pointed to a number of fire and police officials who had been to the warehouse a number of times and had never flagged the building as a hazard.\u003c/p>\n\u003cp>He argued that Harris had no managerial role in the warehouse and noted the testimony of at least seven individuals who said as much.\u003c/p>\n\u003cp>“Max cleaned toilets, swept floors, did the dishes. Convict him,” Briggs said.\u003c/p>\n\u003cp>The defense \u003ca href=\"https://www.kqed.org/news/11744136/defense-in-ghost-ship-trial-asserts-evidence-will-show-arson-as-cause-of-deadly-fire\" target=\"_blank\" rel=\"noopener\">has argued\u003c/a> that the cause of the blaze, which was never determined by fire investigators, was an act of arson, and that the defendants could not have done anything to prevent it.\u003c/p>\n\u003cp>Briggs returned to the arson theory Tuesday, saying that at least seven witnesses had testified to its possibility, including: a woman who testified she heard nine to 14 men boasting about the fire getting out of hand quickly, a former tenant who heard an argument and bottles breaking before the fire began, and testimony from a couple of others who also said they heard an argument the night of the fire.\u003c/p>\n\u003cp>Briggs reminded the jury of their instructions, which say that if previous testimony regarding arson raises a reasonable doubt as to the defendants’ guilt, then they must find the defendants not guilty.\u003c/p>\n\u003cp>Briggs asked why no fire investigator, including staff from the Bureau of Alcohol, Firearms, Tobacco and Explosives, had asked about any suspicious people the night of the fire. He also asked why fire investigators hadn’t swabbed the scene after the fire for accelerants.\u003c/p>\n\u003cp>“Don’t you think you deserve that before you check the box ‘guilty?’ ” Briggs asked the jury.\u003c/p>\n\u003cp>“They were so sure they had the cause … electrical,” Briggs said. “They didn’t test anything else.”\u003c/p>\n\u003cp>Earlier in the trial, Bureau of Alcohol, Tobacco, Firearms and Explosives \u003ca href=\"https://www.kqed.org/news/11751300/ghost-ship-trial-defense-cross-examines-fire-investigator-in-attempt-to-show-arson-possibility\" target=\"_blank\" rel=\"noopener\">agent Barbara Maxwell testified\u003c/a> that investigators didn’t test debris for the presence of accelerants because they already expected to find flammable substances such as gasoline in the recreational vehicles parked inside the warehouse and used as studios, and paint thinner belonging to artist tenants.\u003c/p>\n\u003cp>On Tuesday, Briggs also said at least seven witnesses testified they considered the Ghost Ship safe. But he did return to the \u003ca href=\"https://www.kqed.org/news/11745555/ghost-ship-trial-witness-testifies-about-explosive-spread-of-deadly-fire\" target=\"_blank\" rel=\"noopener\">testimony of Rodney Griffin\u003c/a>, a former friend of Almena’s who called the warehouse a “death trap.” Briggs argued those statements were made before Harris began living at the Ghost Ship.\u003c/p>\n\u003cp>“I wish someone would have told Max there was a problem, because he would have done something about it,” Briggs said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Ghost Ship Victims Had No Notice and No Exits, Prosecutors Repeat in Closing Arguments",
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"content": "\u003cp>\u003cem>Updated 6 p.m.\u003c/em>\u003c/p>\n\u003cp>During closing arguments Monday in the trial of two men charged with 36 counts apiece of involuntary manslaughter in the 2016 Ghost Ship warehouse fire in Oakland, the prosecution reiterated \u003ca href=\"https://www.kqed.org/news/11743815/prosecutor-says-ghost-ship-victims-had-no-notice-no-time-and-no-exits\" rel=\"noopener\" target=\"_blank\">what was said in their opening statements\u003c/a>: that the victims had no notice, no time and no ability to exit.\u003c/p>\n\u003cp>Alameda County Deputy District Attorney Autrey James spoke of the people going to an electronic music party on the night of Dec. 2, 2016, and what they probably would have been thinking about when the event was over.\u003c/p>\n\u003cp>[aside tag=\"ghost-ship-trial\" label=\"More Ghost Ship Trial Coverage\"]\u003c/p>\n\u003cp>\"We're going back to loved ones, our families, our jobs,” he said. “For 36 people, that didn’t happen.”\u003c/p>\n\u003cp>James then slowly read aloud the names of the 36 victims who died that night, including 35 concertgoers and one tenant, as friends and relatives wept.\u003c/p>\n\u003cp>The prosecution has argued that master tenant Derick Almena and Max Harris, who has been described as creative director or second-in-command at the warehouse, illegally converted it into an unsafe living space without any consideration for safety.\u003c/p>\n\u003cp>The defense has argued the fire was started as an act of arson, and there would have been nothing that Almena or Harris could have done to prevent that. They also have argued that agencies, including personnel from Oakland's police and fire departments, had passed through the building dozens of times and had never flagged it, red-tagged it or issued eviction notices.\u003c/p>\n\u003cp>James said the defendants' acts “amount to a disregard for human life.”\u003c/p>\n\u003cp>“We’ve proven to you they were criminally negligent,” James said to the jury following nearly three months of testimony. He added the defendants had been criminally negligent from the time the lease was signed in November 2013 until the night of the fire.\u003c/p>\n\u003cp>He argued that the defendants violated nine elements of the fire code, including not procuring required fire safety permits.\u003c/p>\n\u003cp>“Was the failure to get permits criminally negligent?” James asked. “Absolutely.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>James said the defendants did not install the required fire sprinklers or alarms. He argued that when Almena began allowing people to live in the warehouse, he had to install proper safety measures.\u003c/p>\n\u003cp>“The City of Oakland will tell you, “You must, must put in fire sprinklers,’ \" James said, referring to when people began living in the warehouse after the lease was signed in November 2013.\u003c/p>\n\u003cp>He pointed to testimony by Cesar Avila, a former assistant fire marshal with the City of Oakland, who said sprinklers were 95% effective.\u003c/p>\n\u003cp>“These laws were created because events like the one on Dec. 2 had happened before,” James said.\u003c/p>\n\u003cp>He also noted other violations of the fire code, including storing recreational vehicles within the premises and not getting the proper operational permits required for events like the one on the night of Dec. 2.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation=\"Chris Allen, brother of Ghost Ship fire victim Amanda Kershaw\"]'[Prosecutor Autrey James] talked about the disregard for human life, and indifference, which is such a cutting word in this case, because that's the case. And so many pieces of this is that indifference to life.'[/pullquote]\u003c/p>\n\u003cp>James described the building as not being designed to hold tenants or assemblies. He said the second floor, where the concert was being held, was the worst possible place for people to be during a fire. He said that with an unsealed floor, smoke came up through it and that the victims were “suspended in smoke.”\u003c/p>\n\u003cp>Earlier testimony by forensic pathologists indicated that all the victims died of smoke inhalation.\u003c/p>\n\u003cp>James pointed out there were no lit exit signs on the second floor and that a bottleneck was formed at the top of a narrow set of stairs at the front of the warehouse as people attempted to flee the fire.\u003c/p>\n\u003cp>James also pointed to the high fire loads presented under testimony by firefighters, including wood, tapestries, pianos delineating walkways and other materials “right up to the ceiling” surrounding RVs, creating an extreme hazard.\u003c/p>\n\u003cp>James mentioned the lease that Almena, former tenant Nico Bouchard and landlord Eva Ng signed on Nov. 10, 2013 — and the violations of it. James pointed to the purpose of leasing the building, which was to “design theatrical sets” and for community outreach, and that it was not to be used in any other way without the consent of the landlord, according to the lease.\u003c/p>\n\u003cp>James said that Bouchard testified that within days of signing the lease, people were moving in. Bouchard \u003ca href=\"https://www.kqed.org/news/11745338/lease-co-signer-mother-of-fire-victim-first-to-testify-in-ghost-ship-trial\" rel=\"noopener\" target=\"_blank\">testified\u003c/a> he tried to get out of the lease after seeing modifications to the building.\u003c/p>\n\u003cp>“It was obvious to him (Bouchard) it was a hazardous situation,” James said. He argued that Bouchard “understood the building was as-is.”\u003c/p>\n\u003cfigure id=\"attachment_11760296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial-800x463.jpg\" alt=\"Ghost Ship master tenant Derick Almena during his first day of testimony in the criminal trial in which he faces 36 counts of involuntary manslaughter.\" width=\"800\" height=\"463\" class=\"size-medium wp-image-11760296\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial-800x463.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial-160x93.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial-1020x590.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial-1200x694.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ghost Ship master tenant Derick Almena during his first day of testimony in the criminal trial in which he faces 36 counts of involuntary manslaughter. \u003ccite>(Vicki Behringer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almena \u003ca href=\"https://www.kqed.org/news/11760153/ghost-ship-trial-defendant-testifies-he-believed-dwellings-could-be-built-in-warehouse\" rel=\"noopener\" target=\"_blank\">testified earlier\u003c/a> that he had both a verbal and email agreement with Eva Ng that people would live in the Ghost Ship.\u003c/p>\n\u003cp>James argued Almena knew he had to get permits for alterations to the building, because Eva Ng had told him to. Almena testified earlier that he had asked Eva Ng to get the required permits.\u003c/p>\n\u003cp>James also said Almena didn't take recommendations to get permits for the set of stairs at the front of the warehouse and the side fire door, ignoring cost estimates and saying he could install those better and cheaper. James called Almena a \"narcissist\" who only wanted to do things his way and said Harris was \"no innocent bystander.\"\u003c/p>\n\u003cp>James argued that Harris acted on behalf of Almena, collecting rent, issuing eviction notices and organizing events. He reiterated Harris' use of titles like executive director and creative director in emails.\u003c/p>\n\u003cp>Harris testified that those titles and roles didn't actually exist. Almena also testified those titles didn't exist.\u003c/p>\n\u003cp>James wrapped up his arguments with a retelling of the night of the night of the fire, including playing frantic 911 calls and reading the last texts of eventual victims to loved ones, which brought many in the packed court room to tears. He read Nicole Siegrist's text she had written to her mother Carol Cidlik, who was in the court room: \"I’m gonna die now.” Cidlik was also the first person to testify in the trial.\u003c/p>\n\u003cp>Curtis Briggs, who represents Harris, said outside of court that some of James’ closing arguments supported his client’s innocence. He said Harris had not been part of signing the lease or of any of the modifications to the building, including installing the set of stairs toward the front, or the fire door on the side of the building.\u003c/p>\n\u003cp>Chris Allen, brother of fire victim Amanda Kershaw, said outside court during lunch recess he felt pretty good about James’ arguments.\u003c/p>\n\u003cp>“I think Autrey (James) has done a really good job of defining what the jury is supposed to consider, and I think I speak for the rest of the families, these are the kinds of things that we’ve been thinking about,\" Allen said. \u003c/p>\n\u003cp>\"He (James) talked about the disregard for human life, and indifference, which is such a cutting word in this case, because that's the case. And so many pieces of this is that indifference to life.”\u003c/p>\n\u003cp>Prior to James’ closing arguments, Alameda County Judge Trina Thompson laid out instructions for the jury.\u003c/p>\n\u003cp>Curtis Briggs, who represents Harris, is expected to give his closing arguments on Tuesday morning. The jury is expected to begin deliberations following closing arguments.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated 6 p.m.\u003c/em>\u003c/p>\n\u003cp>During closing arguments Monday in the trial of two men charged with 36 counts apiece of involuntary manslaughter in the 2016 Ghost Ship warehouse fire in Oakland, the prosecution reiterated \u003ca href=\"https://www.kqed.org/news/11743815/prosecutor-says-ghost-ship-victims-had-no-notice-no-time-and-no-exits\" rel=\"noopener\" target=\"_blank\">what was said in their opening statements\u003c/a>: that the victims had no notice, no time and no ability to exit.\u003c/p>\n\u003cp>Alameda County Deputy District Attorney Autrey James spoke of the people going to an electronic music party on the night of Dec. 2, 2016, and what they probably would have been thinking about when the event was over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"We're going back to loved ones, our families, our jobs,” he said. “For 36 people, that didn’t happen.”\u003c/p>\n\u003cp>James then slowly read aloud the names of the 36 victims who died that night, including 35 concertgoers and one tenant, as friends and relatives wept.\u003c/p>\n\u003cp>The prosecution has argued that master tenant Derick Almena and Max Harris, who has been described as creative director or second-in-command at the warehouse, illegally converted it into an unsafe living space without any consideration for safety.\u003c/p>\n\u003cp>The defense has argued the fire was started as an act of arson, and there would have been nothing that Almena or Harris could have done to prevent that. They also have argued that agencies, including personnel from Oakland's police and fire departments, had passed through the building dozens of times and had never flagged it, red-tagged it or issued eviction notices.\u003c/p>\n\u003cp>James said the defendants' acts “amount to a disregard for human life.”\u003c/p>\n\u003cp>“We’ve proven to you they were criminally negligent,” James said to the jury following nearly three months of testimony. He added the defendants had been criminally negligent from the time the lease was signed in November 2013 until the night of the fire.\u003c/p>\n\u003cp>He argued that the defendants violated nine elements of the fire code, including not procuring required fire safety permits.\u003c/p>\n\u003cp>“Was the failure to get permits criminally negligent?” James asked. “Absolutely.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>James said the defendants did not install the required fire sprinklers or alarms. He argued that when Almena began allowing people to live in the warehouse, he had to install proper safety measures.\u003c/p>\n\u003cp>“The City of Oakland will tell you, “You must, must put in fire sprinklers,’ \" James said, referring to when people began living in the warehouse after the lease was signed in November 2013.\u003c/p>\n\u003cp>He pointed to testimony by Cesar Avila, a former assistant fire marshal with the City of Oakland, who said sprinklers were 95% effective.\u003c/p>\n\u003cp>“These laws were created because events like the one on Dec. 2 had happened before,” James said.\u003c/p>\n\u003cp>He also noted other violations of the fire code, including storing recreational vehicles within the premises and not getting the proper operational permits required for events like the one on the night of Dec. 2.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>James described the building as not being designed to hold tenants or assemblies. He said the second floor, where the concert was being held, was the worst possible place for people to be during a fire. He said that with an unsealed floor, smoke came up through it and that the victims were “suspended in smoke.”\u003c/p>\n\u003cp>Earlier testimony by forensic pathologists indicated that all the victims died of smoke inhalation.\u003c/p>\n\u003cp>James pointed out there were no lit exit signs on the second floor and that a bottleneck was formed at the top of a narrow set of stairs at the front of the warehouse as people attempted to flee the fire.\u003c/p>\n\u003cp>James also pointed to the high fire loads presented under testimony by firefighters, including wood, tapestries, pianos delineating walkways and other materials “right up to the ceiling” surrounding RVs, creating an extreme hazard.\u003c/p>\n\u003cp>James mentioned the lease that Almena, former tenant Nico Bouchard and landlord Eva Ng signed on Nov. 10, 2013 — and the violations of it. James pointed to the purpose of leasing the building, which was to “design theatrical sets” and for community outreach, and that it was not to be used in any other way without the consent of the landlord, according to the lease.\u003c/p>\n\u003cp>James said that Bouchard testified that within days of signing the lease, people were moving in. Bouchard \u003ca href=\"https://www.kqed.org/news/11745338/lease-co-signer-mother-of-fire-victim-first-to-testify-in-ghost-ship-trial\" rel=\"noopener\" target=\"_blank\">testified\u003c/a> he tried to get out of the lease after seeing modifications to the building.\u003c/p>\n\u003cp>“It was obvious to him (Bouchard) it was a hazardous situation,” James said. He argued that Bouchard “understood the building was as-is.”\u003c/p>\n\u003cfigure id=\"attachment_11760296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial-800x463.jpg\" alt=\"Ghost Ship master tenant Derick Almena during his first day of testimony in the criminal trial in which he faces 36 counts of involuntary manslaughter.\" width=\"800\" height=\"463\" class=\"size-medium wp-image-11760296\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial-800x463.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial-160x93.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial-1020x590.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial-1200x694.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/Derick-Almena-Ghost-Ship-Trial.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ghost Ship master tenant Derick Almena during his first day of testimony in the criminal trial in which he faces 36 counts of involuntary manslaughter. \u003ccite>(Vicki Behringer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almena \u003ca href=\"https://www.kqed.org/news/11760153/ghost-ship-trial-defendant-testifies-he-believed-dwellings-could-be-built-in-warehouse\" rel=\"noopener\" target=\"_blank\">testified earlier\u003c/a> that he had both a verbal and email agreement with Eva Ng that people would live in the Ghost Ship.\u003c/p>\n\u003cp>James argued Almena knew he had to get permits for alterations to the building, because Eva Ng had told him to. Almena testified earlier that he had asked Eva Ng to get the required permits.\u003c/p>\n\u003cp>James also said Almena didn't take recommendations to get permits for the set of stairs at the front of the warehouse and the side fire door, ignoring cost estimates and saying he could install those better and cheaper. James called Almena a \"narcissist\" who only wanted to do things his way and said Harris was \"no innocent bystander.\"\u003c/p>\n\u003cp>James argued that Harris acted on behalf of Almena, collecting rent, issuing eviction notices and organizing events. He reiterated Harris' use of titles like executive director and creative director in emails.\u003c/p>\n\u003cp>Harris testified that those titles and roles didn't actually exist. Almena also testified those titles didn't exist.\u003c/p>\n\u003cp>James wrapped up his arguments with a retelling of the night of the night of the fire, including playing frantic 911 calls and reading the last texts of eventual victims to loved ones, which brought many in the packed court room to tears. He read Nicole Siegrist's text she had written to her mother Carol Cidlik, who was in the court room: \"I’m gonna die now.” Cidlik was also the first person to testify in the trial.\u003c/p>\n\u003cp>Curtis Briggs, who represents Harris, said outside of court that some of James’ closing arguments supported his client’s innocence. He said Harris had not been part of signing the lease or of any of the modifications to the building, including installing the set of stairs toward the front, or the fire door on the side of the building.\u003c/p>\n\u003cp>Chris Allen, brother of fire victim Amanda Kershaw, said outside court during lunch recess he felt pretty good about James’ arguments.\u003c/p>\n\u003cp>“I think Autrey (James) has done a really good job of defining what the jury is supposed to consider, and I think I speak for the rest of the families, these are the kinds of things that we’ve been thinking about,\" Allen said. \u003c/p>\n\u003cp>\"He (James) talked about the disregard for human life, and indifference, which is such a cutting word in this case, because that's the case. And so many pieces of this is that indifference to life.”\u003c/p>\n\u003cp>Prior to James’ closing arguments, Alameda County Judge Trina Thompson laid out instructions for the jury.\u003c/p>\n\u003cp>Curtis Briggs, who represents Harris, is expected to give his closing arguments on Tuesday morning. The jury is expected to begin deliberations following closing arguments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "How to Make the Most of an Internship (From Those Who’ve Been There) | KQED",
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"content": "\u003cp>Here at KQED, we’re big believers in the value of internships. \u003ca href=\"https://www.marketplace.org/\">\u003cem>Marketplace\u003c/em>‘\u003c/a>s Kai Ryssdal got his start in public radio with a KQED News internship. Holly Kernan, KQED’s own head of content, started as an intern on our daily \u003cem>Forum\u003c/em> show.\u003c/p>\n\u003cp>To mark \u003ca href=\"https://www.nationalinternday.com/\">National Intern Day\u003c/a> (which, we should note, was created in 2017 by recruiting company \u003ca href=\"https://www.wayup.com\" target=\"_blank\" rel=\"noopener\">WayUp\u003c/a>), we asked current KQED interns and staff who got their start here for tips on truly making the most of an internship — or any new professional opportunity, for that matter.\u003c/p>\n\u003cp>\u003cstrong>Nia Patrick, current KQED Arts intern\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763506\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763506\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Nia.jpg\" alt=\"\" width=\"1900\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Nia.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Nia-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Nia-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Nia-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Nia-1200x846.jpg 1200w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">KQED Arts intern Nia Patrick\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Try to challenge yourself by taking on tasks you’ve never done before. Get out of your comfort zone!”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/author/aehsanipour\">Asal Ehsanipour\u003c/a>, current California Report Magazine intern\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763525\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763525\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Asal.jpg\" alt=\"\" width=\"1900\" height=\"1425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-536x402.jpg 536w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Asal Ehsanipour, The California Report Magazine intern\u003c/figcaption>\u003c/figure>\n\u003cp>“Bring ideas to the table with confidence! You’re here to learn, but you were also hired for your relevant experience, story ideas, and, other contributions that’ll enhance the work.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/author/dkatayama\">Devin Katayama\u003c/a>, host of KQED News’s podcast \u003cem>\u003ca href=\"https://www.kqed.org/news/tag/the-bay\">The Bay\u003c/a>\u003c/em> (interned here in 2010), pictured here with The Bay’s Erika Aguilar and Ericka Cruz Guevarra (interned here in 2015), and their intern, Theresa Wu\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763507\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763507\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Bay.png\" alt=\"\" width=\"1920\" height=\"1585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Bay.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Bay-160x132.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Bay-800x660.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Bay-1020x842.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Bay-1200x991.png 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Bay’s Devin Katayama with Erika Aguilar, Ericka Cruz Guevarra and Theresa Wu\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Assert yourself and go get what you want!”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/author/gmarzorati\">Guy Marzorati\u003c/a>, Politics and Government reporter/producer with KQED News (interned here in 2013)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763509\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763509\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Guy.png\" alt=\"\" width=\"1920\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Guy.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Guy-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Guy-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Guy-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Guy-1200x809.png 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Guy Marzorati of KQED News\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Become a go-to person for something — even something small.”\u003c/p>\n\u003cp>\u003cstrong>Oscar Tejada, current \u003ca href=\"https://ww2.kqed.org/education/\">KQED Education\u003c/a> intern\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763516\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11763516 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Oscar.png\" alt=\"\" width=\"1900\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Oscar.png 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Oscar-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Oscar-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Oscar-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Oscar-1200x784.png 1200w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Tejada, KQED Education intern\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Find a mentor and develop meaningful relationships with your coworkers. This will make a huge difference in the future! Also, try to take on projects that will challenge you. Even if they seem scary at first.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/author/shutson\">Sonja Hutson\u003c/a>, reporter, producer and editor for KQED News and The California Report (interned here in 2016)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763513\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763513\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Sonja.jpg\" alt=\"\" width=\"1900\" height=\"1450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Sonja.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Sonja-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Sonja-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Sonja-1020x778.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Sonja-1200x916.jpg 1200w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Sonja Hutson of KQED News\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Ask for work. You’ll be surprised what people will let you do!”\u003c/p>\n\u003cp>\u003cstrong>Olivia Won, current KQED Food intern\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763515\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763515\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Olivia.jpg\" alt=\"\" width=\"1900\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Olivia.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Olivia-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Olivia-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Olivia-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Olivia-1200x875.jpg 1200w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Won, KQED Food intern\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Bring your full, authentic self to the work that you do! Your story and experience matter and even as an intern, you deserve to be a part of the conversation.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/author/jeremysiegel\">Jeremy Siegel\u003c/a>, weekend afternoon news anchor for KQED (interned here in 2015)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763526\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763526\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Jermey.jpg\" alt=\"\" width=\"1900\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Jermey.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Jermey-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Jermey-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Jermey-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Jermey-1200x806.jpg 1200w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Weekend news anchor Jeremy Siegel\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Keep an open mind about what you’re interested in. I wanted to be a film critic — now I’m covering wildfires. You never know what you’re going to end up loving doing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Interested in a paid internship at KQED? We offer intern opportunities twice a year for a period of about six months each in a wide variety of different departments, ranging from News to Science, from TV, Education, Marketing, Design and Arts to Corporate Sponsorship. Learn more \u003ca href=\"https://ww2.kqed.org/about/internships/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here at KQED, we’re big believers in the value of internships. \u003ca href=\"https://www.marketplace.org/\">\u003cem>Marketplace\u003c/em>‘\u003c/a>s Kai Ryssdal got his start in public radio with a KQED News internship. Holly Kernan, KQED’s own head of content, started as an intern on our daily \u003cem>Forum\u003c/em> show.\u003c/p>\n\u003cp>To mark \u003ca href=\"https://www.nationalinternday.com/\">National Intern Day\u003c/a> (which, we should note, was created in 2017 by recruiting company \u003ca href=\"https://www.wayup.com\" target=\"_blank\" rel=\"noopener\">WayUp\u003c/a>), we asked current KQED interns and staff who got their start here for tips on truly making the most of an internship — or any new professional opportunity, for that matter.\u003c/p>\n\u003cp>\u003cstrong>Nia Patrick, current KQED Arts intern\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763506\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763506\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Nia.jpg\" alt=\"\" width=\"1900\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Nia.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Nia-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Nia-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Nia-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Nia-1200x846.jpg 1200w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">KQED Arts intern Nia Patrick\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Try to challenge yourself by taking on tasks you’ve never done before. Get out of your comfort zone!”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/author/aehsanipour\">Asal Ehsanipour\u003c/a>, current California Report Magazine intern\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763525\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763525\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Asal.jpg\" alt=\"\" width=\"1900\" height=\"1425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Asal-536x402.jpg 536w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Asal Ehsanipour, The California Report Magazine intern\u003c/figcaption>\u003c/figure>\n\u003cp>“Bring ideas to the table with confidence! You’re here to learn, but you were also hired for your relevant experience, story ideas, and, other contributions that’ll enhance the work.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/author/dkatayama\">Devin Katayama\u003c/a>, host of KQED News’s podcast \u003cem>\u003ca href=\"https://www.kqed.org/news/tag/the-bay\">The Bay\u003c/a>\u003c/em> (interned here in 2010), pictured here with The Bay’s Erika Aguilar and Ericka Cruz Guevarra (interned here in 2015), and their intern, Theresa Wu\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763507\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763507\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Bay.png\" alt=\"\" width=\"1920\" height=\"1585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Bay.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Bay-160x132.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Bay-800x660.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Bay-1020x842.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Bay-1200x991.png 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Bay’s Devin Katayama with Erika Aguilar, Ericka Cruz Guevarra and Theresa Wu\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Assert yourself and go get what you want!”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/author/gmarzorati\">Guy Marzorati\u003c/a>, Politics and Government reporter/producer with KQED News (interned here in 2013)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763509\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763509\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Guy.png\" alt=\"\" width=\"1920\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Guy.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Guy-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Guy-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Guy-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Guy-1200x809.png 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Guy Marzorati of KQED News\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Become a go-to person for something — even something small.”\u003c/p>\n\u003cp>\u003cstrong>Oscar Tejada, current \u003ca href=\"https://ww2.kqed.org/education/\">KQED Education\u003c/a> intern\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763516\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11763516 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Oscar.png\" alt=\"\" width=\"1900\" height=\"1242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Oscar.png 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Oscar-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Oscar-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Oscar-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Oscar-1200x784.png 1200w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Tejada, KQED Education intern\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Find a mentor and develop meaningful relationships with your coworkers. This will make a huge difference in the future! Also, try to take on projects that will challenge you. Even if they seem scary at first.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/author/shutson\">Sonja Hutson\u003c/a>, reporter, producer and editor for KQED News and The California Report (interned here in 2016)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763513\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763513\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Sonja.jpg\" alt=\"\" width=\"1900\" height=\"1450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Sonja.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Sonja-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Sonja-800x611.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Sonja-1020x778.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Sonja-1200x916.jpg 1200w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Sonja Hutson of KQED News\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Ask for work. You’ll be surprised what people will let you do!”\u003c/p>\n\u003cp>\u003cstrong>Olivia Won, current KQED Food intern\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763515\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763515\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Olivia.jpg\" alt=\"\" width=\"1900\" height=\"1385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Olivia.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Olivia-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Olivia-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Olivia-1020x744.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Olivia-1200x875.jpg 1200w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Won, KQED Food intern\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Bring your full, authentic self to the work that you do! Your story and experience matter and even as an intern, you deserve to be a part of the conversation.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/author/jeremysiegel\">Jeremy Siegel\u003c/a>, weekend afternoon news anchor for KQED (interned here in 2015)\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11763526\" class=\"wp-caption alignnone\" style=\"max-width: 1900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11763526\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Jermey.jpg\" alt=\"\" width=\"1900\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Jermey.jpg 1900w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Jermey-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Jermey-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Jermey-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Jermey-1200x806.jpg 1200w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Weekend news anchor Jeremy Siegel\u003c/figcaption>\u003c/figure>\n\u003cp>Tip: “Keep an open mind about what you’re interested in. I wanted to be a film critic — now I’m covering wildfires. You never know what you’re going to end up loving doing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Interested in a paid internship at KQED? We offer intern opportunities twice a year for a period of about six months each in a wide variety of different departments, ranging from News to Science, from TV, Education, Marketing, Design and Arts to Corporate Sponsorship. Learn more \u003ca href=\"https://ww2.kqed.org/about/internships/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Diego Comic-Con Turns 50: Here's How It Started",
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"content": "\u003cp>Fifty years ago, a bunch of comics fans in San Diego decided they wanted a way to meet other fans. They were mostly teenagers — okay, and two adults — but what they created became the pop culture phenomenon we know as San Diego Comic-Con.\u003c/p>\n\u003cp>Today, Roger Freedman is a physics professor, but in 1969 he was 17 years old — and he had no idea what he was about to get himself into. “I think it’s fair to say that if you had come to us and said how Comic-Con was going to evolve, we would have said A) what are you smoking, and B) where can we buy some?”\u003c/p>\n\u003cp>It all started with a guy named Shel Dorf — one of only two adults involved with that first convention. Dorf had some experience attending and planning conventions, and more importantly, he had connections. He knew Jack Kirby, the legendary co-creator of characters like the X-Men and the Fantastic Four. And Kirby was willing to talk to a bunch of kids.\u003c/p>\n\u003cp>“I think we thought comic creators lived on some comic book Mount Olympus and couldn’t be approached by normal mortals like us,” says Mike Towry, who was 14 when he got involved with the convention committee. “And then to find out that we could actually meet them and talk to them one on one, and then have a convention where they would come and we would get to hang out with them was just kind of mind-blowing.”\u003c/p>\n\u003cp>In fact, Kirby ended up drawing the original convention committee into one of his comics. “So Jack Kirby drew six of us San Diego comic fans as characters,” Towry says. “We were a futuristic rock band that were secretly the evil minions of Darkseid, and we went up against Superman and we trash talked him, and we took off in our Boom Tube.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And it was Kirby who came closest to realizing what Comic-Con could be. Towry remembers the con crew’s \u003ca href=\"http://www.sheldorftribute.com/2009/11/09/40th-anniversary-of-the-first-time-shel-dorf-took-san-diego-fans-to-visit-jack-kirby/\" target=\"_blank\" rel=\"noopener\">visit\u003c/a>, and the advice he gave them: “Do it all,” Kirby said. “I know that comic fans have also been interested in the movie media, they’ve been interested in the pulp media, and all that has some value to them.\u003c/p>\n\u003cp>I think they want to see it. I don’t think they want to concentrate on comics alone. If you can widen the scope of the convention to include all these, I think you’ll have a larger crowd and a more interesting crowd. And I think you’ll have a great time.”\u003c/p>\n\u003cp>Standing on the packed show floor of the 50th Comic-Con, it seems like Kirby’s vision has been fulfilled. More than 130,000 people are expected to attend this year; they’re here for comics, yes, but also for their favorite movies, TV shows, books and toys.\u003c/p>\n\u003cp>It’s a far cry from the 300 people who gathered in the basement of San Diego’s U.S. Grant Hotel in the summer of 1970, to see Kirby and the equally legendary sci-fi author Ray Bradbury. Scott Shaw! — another member of the original convention committee — was an aspiring cartoonist then, and a professional now. (And yes, that exclamation point is part of his name.)\u003c/p>\n\u003cp>“It really was just kind of a bunch of tables like this with cardboard boxes with comics,” he says. “And I would say, I only know of one woman that showed up, that was a fan of comics. For the most part it was teenage boys.” That one woman, he says, was Jackie Estrada.\u003c/p>\n\u003cp>“I only went for three hours, and it was in the basement of a hotel,” she remembers, “and there was Jack Kirby and Ray Bradbury, so for a fan of both of those to go and just hear them talk, I mean, what more could you want?”\u003c/p>\n\u003cp>Yes, Jackie Estrada is here today. In fact, she’s been to every single Comic-Con. These days she even works for the convention, running the annual Will Eisner Comic Industry Awards. And of course, she’s far from the only woman at Comic-Con 2019.\u003c/p>\n\u003cp>“I think the biggest change and the best change is that women are here,” says Shaw! And not just women — people of all genders, ethnicities and ages are milling around the show floor today.\u003c/p>\n\u003cp>But not all the changes have been positive. When a convention gets as big as this one is, you lose something. Jim Lee is publisher and chief creative officer of DC Comics, but he started coming to the con as an artist back in the ’80s.\u003c/p>\n\u003cp>“For the first several years we just went to the con, met with fans, went back to the hotel room drew pictures and met with fans,” he says. “They would just kind of wander into the rooms all night long, and you’d draw till like 3:00 in the morning, get some sleep and go back to the convention.”\u003c/p>\n\u003cp>Lee says he began to notice things changing in the ’90s and early 2000s. “And now today you have like all of Hollywood here, so you just don’t have the stars, but you have agents and managers, and so there’s a whole stratification of of the show I think which wasn’t there early on.”\u003c/p>\n\u003cp>Mike Towry missed that easy, anything-goes feel of the early Comic-Cons so much, in fact, that he founded a new convention in 2012, \u003ca href=\"https://www.sdcomicfest.org/\" target=\"_blank\" rel=\"noopener\">San Diego Comic Fest\u003c/a>. (Roger Freedman runs the science programming) But he still loves coming to the big show. “Somebody likened it once to concerts,” he says.\u003c/p>\n\u003cp>“There’s the big stadium concerts with the pyrotechnics and the Jumbotron — and and that’s Comic-Con — and then there’s the small club date, where maybe you get to be right up to the stage, and after it the band comes down and mingles with the audience. And those are both great experiences. I can’t see anybody not liking liking both.”\u003c/p>\n\u003cp>No matter how big the big show gets, though, people still find fellowship here, and new things to get enthusiastic about. “The doors have been open for less than an hour and I’ve run into two people that I’ve known since the early 90s, people I’ve known since the 80s,” says Jackie Estrada.\u003c/p>\n\u003cp>“You just pick up that same conversation that you had a year ago and it’s like you’ve never been apart for that long a time.”\u003c/p>\n\u003cp>Shel Dorf died a few years ago, but most of his young proteges are still alive, still friends, and still here. “There’s a famous quotation from science fiction fandom from the 1940s and 50s … ‘it is a proud and lonely thing to be a fan,'” says Roger Freedman. But things have changed dramatically since then.\u003c/p>\n\u003cp>“I think you’d be hard put to find anyone in the United States today who does not know what Comic-Con is. And that’s really a complete transformation. And to feel that we had a small part in that transformation is a very remarkable feeling.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This piece was edited for radio by Nina Gregory, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=San+Diego+Comic-Con+Is+Turning+50%3A+Here%27s+Its+Origin+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, a bunch of comics fans in San Diego decided they wanted a way to meet other fans. They were mostly teenagers — okay, and two adults — but what they created became the pop culture phenomenon we know as San Diego Comic-Con.\u003c/p>\n\u003cp>Today, Roger Freedman is a physics professor, but in 1969 he was 17 years old — and he had no idea what he was about to get himself into. “I think it’s fair to say that if you had come to us and said how Comic-Con was going to evolve, we would have said A) what are you smoking, and B) where can we buy some?”\u003c/p>\n\u003cp>It all started with a guy named Shel Dorf — one of only two adults involved with that first convention. Dorf had some experience attending and planning conventions, and more importantly, he had connections. He knew Jack Kirby, the legendary co-creator of characters like the X-Men and the Fantastic Four. And Kirby was willing to talk to a bunch of kids.\u003c/p>\n\u003cp>“I think we thought comic creators lived on some comic book Mount Olympus and couldn’t be approached by normal mortals like us,” says Mike Towry, who was 14 when he got involved with the convention committee. “And then to find out that we could actually meet them and talk to them one on one, and then have a convention where they would come and we would get to hang out with them was just kind of mind-blowing.”\u003c/p>\n\u003cp>In fact, Kirby ended up drawing the original convention committee into one of his comics. “So Jack Kirby drew six of us San Diego comic fans as characters,” Towry says. “We were a futuristic rock band that were secretly the evil minions of Darkseid, and we went up against Superman and we trash talked him, and we took off in our Boom Tube.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it was Kirby who came closest to realizing what Comic-Con could be. Towry remembers the con crew’s \u003ca href=\"http://www.sheldorftribute.com/2009/11/09/40th-anniversary-of-the-first-time-shel-dorf-took-san-diego-fans-to-visit-jack-kirby/\" target=\"_blank\" rel=\"noopener\">visit\u003c/a>, and the advice he gave them: “Do it all,” Kirby said. “I know that comic fans have also been interested in the movie media, they’ve been interested in the pulp media, and all that has some value to them.\u003c/p>\n\u003cp>I think they want to see it. I don’t think they want to concentrate on comics alone. If you can widen the scope of the convention to include all these, I think you’ll have a larger crowd and a more interesting crowd. And I think you’ll have a great time.”\u003c/p>\n\u003cp>Standing on the packed show floor of the 50th Comic-Con, it seems like Kirby’s vision has been fulfilled. More than 130,000 people are expected to attend this year; they’re here for comics, yes, but also for their favorite movies, TV shows, books and toys.\u003c/p>\n\u003cp>It’s a far cry from the 300 people who gathered in the basement of San Diego’s U.S. Grant Hotel in the summer of 1970, to see Kirby and the equally legendary sci-fi author Ray Bradbury. Scott Shaw! — another member of the original convention committee — was an aspiring cartoonist then, and a professional now. (And yes, that exclamation point is part of his name.)\u003c/p>\n\u003cp>“It really was just kind of a bunch of tables like this with cardboard boxes with comics,” he says. “And I would say, I only know of one woman that showed up, that was a fan of comics. For the most part it was teenage boys.” That one woman, he says, was Jackie Estrada.\u003c/p>\n\u003cp>“I only went for three hours, and it was in the basement of a hotel,” she remembers, “and there was Jack Kirby and Ray Bradbury, so for a fan of both of those to go and just hear them talk, I mean, what more could you want?”\u003c/p>\n\u003cp>Yes, Jackie Estrada is here today. In fact, she’s been to every single Comic-Con. These days she even works for the convention, running the annual Will Eisner Comic Industry Awards. And of course, she’s far from the only woman at Comic-Con 2019.\u003c/p>\n\u003cp>“I think the biggest change and the best change is that women are here,” says Shaw! And not just women — people of all genders, ethnicities and ages are milling around the show floor today.\u003c/p>\n\u003cp>But not all the changes have been positive. When a convention gets as big as this one is, you lose something. Jim Lee is publisher and chief creative officer of DC Comics, but he started coming to the con as an artist back in the ’80s.\u003c/p>\n\u003cp>“For the first several years we just went to the con, met with fans, went back to the hotel room drew pictures and met with fans,” he says. “They would just kind of wander into the rooms all night long, and you’d draw till like 3:00 in the morning, get some sleep and go back to the convention.”\u003c/p>\n\u003cp>Lee says he began to notice things changing in the ’90s and early 2000s. “And now today you have like all of Hollywood here, so you just don’t have the stars, but you have agents and managers, and so there’s a whole stratification of of the show I think which wasn’t there early on.”\u003c/p>\n\u003cp>Mike Towry missed that easy, anything-goes feel of the early Comic-Cons so much, in fact, that he founded a new convention in 2012, \u003ca href=\"https://www.sdcomicfest.org/\" target=\"_blank\" rel=\"noopener\">San Diego Comic Fest\u003c/a>. (Roger Freedman runs the science programming) But he still loves coming to the big show. “Somebody likened it once to concerts,” he says.\u003c/p>\n\u003cp>“There’s the big stadium concerts with the pyrotechnics and the Jumbotron — and and that’s Comic-Con — and then there’s the small club date, where maybe you get to be right up to the stage, and after it the band comes down and mingles with the audience. And those are both great experiences. I can’t see anybody not liking liking both.”\u003c/p>\n\u003cp>No matter how big the big show gets, though, people still find fellowship here, and new things to get enthusiastic about. “The doors have been open for less than an hour and I’ve run into two people that I’ve known since the early 90s, people I’ve known since the 80s,” says Jackie Estrada.\u003c/p>\n\u003cp>“You just pick up that same conversation that you had a year ago and it’s like you’ve never been apart for that long a time.”\u003c/p>\n\u003cp>Shel Dorf died a few years ago, but most of his young proteges are still alive, still friends, and still here. “There’s a famous quotation from science fiction fandom from the 1940s and 50s … ‘it is a proud and lonely thing to be a fan,'” says Roger Freedman. But things have changed dramatically since then.\u003c/p>\n\u003cp>“I think you’d be hard put to find anyone in the United States today who does not know what Comic-Con is. And that’s really a complete transformation. And to feel that we had a small part in that transformation is a very remarkable feeling.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece was edited for radio by Nina Gregory, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=San+Diego+Comic-Con+Is+Turning+50%3A+Here%27s+Its+Origin+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "César Pelli, Acclaimed Architect of Salesforce Tower, Dies at 92",
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"content": "\u003cp>César Pelli, the acclaimed architect who designed some of the world's most distinctive buildings including San Francisco's Salesforce Tower, died Friday at age 92. \u003c/p>\n\u003cp>The governor of Pelli's home province of Tucuman, Argentina, Juan Manzur, confirmed the architect's death on \u003ca href=\"https://twitter.com/JuanManzurOK/status/1152321173574868992\" rel=\"noopener\" target=\"_blank\">Twitter\u003c/a>.\u003c/p>\n\u003cp>\"With much regret we received the sad news of the death of the great Architect César Pelli,\" Manzur tweeted. \"I want to extend my condolences to all his family, his friends and his team.\"\u003c/p>\n\u003cp>Pelli's firm, Pelli Clarke Pelli Architects, designed the 1,070-foot Salesforce Tower, as well as the \u003ca href=\"https://www.kqed.org/news/11758146/transbay-transit-center-ready-for-partial-reopening-after-280-day-closure\" rel=\"noopener\" target=\"_blank\">recently reopened\u003c/a> transit center.\u003c/p>\n\u003cp>“We wanted a very special tower in San Francisco, so we pushed ourselves,” Pelli told the \u003ca href=\"https://www.sfchronicle.com/bayarea/place/article/Transformative-towers-in-SF-intriguing-to-top-11066726.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> in 2017. “This will be a tower you can’t find anywhere else.\"\u003c/p>\n\u003cfigure id=\"attachment_11762626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut-800x507.jpg\" alt=\"A super blue blood moon is seen during a partial lunar eclipse over Salesforce Tower in San Francisco, California before dawn on January 31, 2018.\" width=\"800\" height=\"507\" class=\"size-medium wp-image-11762626\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut-800x507.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut-1020x646.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut-1200x760.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A super blue blood moon is seen during a partial lunar eclipse over Salesforce Tower in San Francisco, California before dawn on January 31, 2018. \u003ccite>(JOSH EDELSON/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to those who criticized the massive structure, Pelli told the Chronicle: “A tall building serves to mark the sky. In this case, it also marks the location of such an important transit center. Those signals are very important. They make a city more understandable.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Salesforce project wasn't Pelli's first in the city. He also designed the more modestly sized JPMorgan Chase Building at \u003ca href=\"https://www.sfchronicle.com/bayarea/article/New-minimalist-tower-breaks-rules-and-wins-560-3315039.php?psid=dv7S6\" rel=\"noopener\" target=\"_blank\">560 Mission Street\u003c/a>, a 31-story building that opened in 2002.\u003c/p>\n\u003cp>[aside postID='news_11721192' label='Salesforce Tower and the Business of Air Rights']Pelli studied architecture at the Universidad Nacional de Tucuman and graduated in 1949. Pelli moved with his wife, Spanish landscape architect Diana Balmori, to the United States in 1952, on a scholarship to attend the University of Illinois. He became a U.S. citizen in 1964.\u003c/p>\n\u003cp>Upon obtaining his degree from Illinois, Pelli began working with Finnish-American architect Eero Saarinen. Together, they designed the famous TWA terminal at New York's Idlewild airport, now known as John F. Kennedy airport.\u003c/p>\n\u003cp>In the 1960s, working for the firms DMJM and Gruen Associates California, Pelli began exploring his signature modernist style, crafting sleek, glass and steel skyscrapers. His bright-blue, glass-enclosed Pacific Design Center in Los Angeles, completed in 1975, is one of Pelli's most iconic designs.\u003c/p>\n\u003cp>Pelli was asked to serve as dean of the Yale School of Architecture in 1977. That same year, he opened his own firm, César Pelli & Associates, in New Haven, Conn., and received the coveted opportunity to design the expansion of the Museum of Modern Art in New York.\u003c/p>\n\u003cp>His MoMA renovation received mixed reviews, with some critics saying it lacked the ambition and innovation present in Pelli's other work. After its 1984 completion, architecture critic Paul Goldberger wrote in The New York Times that the building \"is not as avant-garde by today's standards as the 1939 structure was in its time. In fact, it is not avant-garde at all, any more than most of the modern art within the museum.\"\u003c/p>\n\u003cfigure id=\"attachment_11762627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Salesforce-1-800x533-800x533.jpg\" alt=\"A view of Salesforce Tower from below.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11762627\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/Salesforce-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/Salesforce-1-800x533-160x107.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of Salesforce Tower from below. \u003ccite>( (Sarah Craig/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the criticism, that design opened the door for Pelli and his firm to take on more high-profile projects shaping the skylines of cities around the globe, including the Unicredit Tower in Milan, the One Canada Square in London and the Salesforce Tower in San Francisco.\u003c/p>\n\u003cp>In 1991, Pelli was named one of the 10 most influential living American architects by the American Institute of Architects. In 1995, he won the Gold Medal from the American Institute of Architects. \u003c/p>\n\u003cp>Considered one of Pelli's crowning achievements, the Malaysian Petronas Towers were the tallest buildings in the world from 1998 to 2004. The glittering 88-floor, glass-facade structures were designed to evoke motifs from Islamic art.\u003c/p>\n\u003cp>[aside postID='news_11685506,news_11758146' label='The Highs and Lows of the Salesforce Project']Architecture critic Philip Kennicott said that Pelli's gentle, warm demeanor translated over to his work in many ways, as \"he reconciled the generic aspects of modernism with a certain loveliness.\" His designs broke away from the standard modernist form and stood with a distinctive grace. \u003c/p>\n\u003cp>For Pelli, the creativity and sense of novelty that architecture allowed him made his career worthwhile. In a 2005 interview with \u003cem>Architectural Digest\u003c/em>, he said he was constantly searching for what he could create next. \u003c/p>\n\u003cp>\"I always look forward to the next project,\" he said. \"That is one of the wonderful things about architecture — you always can hope for another project to design.\"\u003c/p>\n\u003cp>Pelli was predeceased by his wife who died in 2016. He is survived by his two sons — one of whom runs his firm — his brother and two granddaughters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>César Pelli, the acclaimed architect who designed some of the world's most distinctive buildings including San Francisco's Salesforce Tower, died Friday at age 92. \u003c/p>\n\u003cp>The governor of Pelli's home province of Tucuman, Argentina, Juan Manzur, confirmed the architect's death on \u003ca href=\"https://twitter.com/JuanManzurOK/status/1152321173574868992\" rel=\"noopener\" target=\"_blank\">Twitter\u003c/a>.\u003c/p>\n\u003cp>\"With much regret we received the sad news of the death of the great Architect César Pelli,\" Manzur tweeted. \"I want to extend my condolences to all his family, his friends and his team.\"\u003c/p>\n\u003cp>Pelli's firm, Pelli Clarke Pelli Architects, designed the 1,070-foot Salesforce Tower, as well as the \u003ca href=\"https://www.kqed.org/news/11758146/transbay-transit-center-ready-for-partial-reopening-after-280-day-closure\" rel=\"noopener\" target=\"_blank\">recently reopened\u003c/a> transit center.\u003c/p>\n\u003cp>“We wanted a very special tower in San Francisco, so we pushed ourselves,” Pelli told the \u003ca href=\"https://www.sfchronicle.com/bayarea/place/article/Transformative-towers-in-SF-intriguing-to-top-11066726.php\" rel=\"noopener\" target=\"_blank\">San Francisco Chronicle\u003c/a> in 2017. “This will be a tower you can’t find anywhere else.\"\u003c/p>\n\u003cfigure id=\"attachment_11762626\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut-800x507.jpg\" alt=\"A super blue blood moon is seen during a partial lunar eclipse over Salesforce Tower in San Francisco, California before dawn on January 31, 2018.\" width=\"800\" height=\"507\" class=\"size-medium wp-image-11762626\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut-800x507.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut-1020x646.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut-1200x760.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS29109_GettyImages-912678286-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A super blue blood moon is seen during a partial lunar eclipse over Salesforce Tower in San Francisco, California before dawn on January 31, 2018. \u003ccite>(JOSH EDELSON/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to those who criticized the massive structure, Pelli told the Chronicle: “A tall building serves to mark the sky. In this case, it also marks the location of such an important transit center. Those signals are very important. They make a city more understandable.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pelli studied architecture at the Universidad Nacional de Tucuman and graduated in 1949. Pelli moved with his wife, Spanish landscape architect Diana Balmori, to the United States in 1952, on a scholarship to attend the University of Illinois. He became a U.S. citizen in 1964.\u003c/p>\n\u003cp>Upon obtaining his degree from Illinois, Pelli began working with Finnish-American architect Eero Saarinen. Together, they designed the famous TWA terminal at New York's Idlewild airport, now known as John F. Kennedy airport.\u003c/p>\n\u003cp>In the 1960s, working for the firms DMJM and Gruen Associates California, Pelli began exploring his signature modernist style, crafting sleek, glass and steel skyscrapers. His bright-blue, glass-enclosed Pacific Design Center in Los Angeles, completed in 1975, is one of Pelli's most iconic designs.\u003c/p>\n\u003cp>Pelli was asked to serve as dean of the Yale School of Architecture in 1977. That same year, he opened his own firm, César Pelli & Associates, in New Haven, Conn., and received the coveted opportunity to design the expansion of the Museum of Modern Art in New York.\u003c/p>\n\u003cp>His MoMA renovation received mixed reviews, with some critics saying it lacked the ambition and innovation present in Pelli's other work. After its 1984 completion, architecture critic Paul Goldberger wrote in The New York Times that the building \"is not as avant-garde by today's standards as the 1939 structure was in its time. In fact, it is not avant-garde at all, any more than most of the modern art within the museum.\"\u003c/p>\n\u003cfigure id=\"attachment_11762627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Salesforce-1-800x533-800x533.jpg\" alt=\"A view of Salesforce Tower from below.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11762627\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/Salesforce-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/Salesforce-1-800x533-160x107.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of Salesforce Tower from below. \u003ccite>( (Sarah Craig/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the criticism, that design opened the door for Pelli and his firm to take on more high-profile projects shaping the skylines of cities around the globe, including the Unicredit Tower in Milan, the One Canada Square in London and the Salesforce Tower in San Francisco.\u003c/p>\n\u003cp>In 1991, Pelli was named one of the 10 most influential living American architects by the American Institute of Architects. In 1995, he won the Gold Medal from the American Institute of Architects. \u003c/p>\n\u003cp>Considered one of Pelli's crowning achievements, the Malaysian Petronas Towers were the tallest buildings in the world from 1998 to 2004. The glittering 88-floor, glass-facade structures were designed to evoke motifs from Islamic art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Architecture critic Philip Kennicott said that Pelli's gentle, warm demeanor translated over to his work in many ways, as \"he reconciled the generic aspects of modernism with a certain loveliness.\" His designs broke away from the standard modernist form and stood with a distinctive grace. \u003c/p>\n\u003cp>For Pelli, the creativity and sense of novelty that architecture allowed him made his career worthwhile. In a 2005 interview with \u003cem>Architectural Digest\u003c/em>, he said he was constantly searching for what he could create next. \u003c/p>\n\u003cp>\"I always look forward to the next project,\" he said. \"That is one of the wonderful things about architecture — you always can hope for another project to design.\"\u003c/p>\n\u003cp>Pelli was predeceased by his wife who died in 2016. He is survived by his two sons — one of whom runs his firm — his brother and two granddaughters.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Why Isn’t Local Seafood a Bigger Deal in the Bay Area? | KQED",
"content": "\u003cp>Rayan Rafay was prepared to be blown away by Bay Area seafood when he moved here in 2016.\u003c/p>\n\u003cp>After growing up on the East Coast, he had been amazed by the seafood he encountered when he moved to Vancouver, British Columbia.[baycuriouspodcastinfo]\u003c/p>\n\u003cp>“It’s just this like magical wonderland of seafood,” he said. “Chefs just did things with seafood on the West Coast that I’d never even imagined in my lemon butter world of fish.”\u003c/p>\n\u003cp>Rafay said he saw this in Vancouver, Seattle and Portland, and he assumed he would find the same thing when he moved to the Bay Area. After all, it’s a place with a long tradition of fishing and home to many immigrant groups — Chinese, Japanese, Italians and others — for whom fish play a big part in culture and diet.\u003c/p>\n\u003cp>Rafay even went out on local waters with a commercial fisherman and caught his own rock cod and halibut. But back on land, he wasn’t seeing those local catches showing up on many local menus.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I couldn’t find any of the fish that I’m pretty sure are right outside in the ocean,” he said.\u003c/p>\n\u003cp>So he asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a>: With the Pacific Ocean right there, \u003cstrong>why isn’t local seafood a bigger deal in the Bay Area?\u003c/strong>\u003c/p>\n\u003ch3>Show Me the Money\u003c/h3>\n\u003cp>Like many things in the Bay Area, the seeming dearth of a robust local seafood scene can be traced in part to the cost of doing business — and that, in turn, can be traced to the region’s high real estate costs.\u003c/p>\n\u003cp>“How expensive it is to stay in business in the Bay Area means that all of us who are in business are trying to find ways to cut costs, and we are cutting costs in the ingredients that we are using,” said Kenny Belov, who runs Fish restaurant in Sausalito and TwoXSea, a seafood wholesaler at Fisherman’s Wharf in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11762128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11762128 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/RS37415_IMG_1609-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS37415_IMG_1609-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS37415_IMG_1609-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS37415_IMG_1609-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS37415_IMG_1609-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS37415_IMG_1609-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lourdes Mendoza guts rockfish at TwoXSea, a seafood wholesaler at Fisherman’s Wharf in San Francisco on May 31, 2019. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area restaurants have to deal with high rents and high salaries among other costs, and adding in the volatility and uncertainty that comes with buying local, wild-caught seafood can make things even tougher.\u003c/p>\n\u003cp>It’s much easier and more economical, according to Belov, for restaurants to serve Atlantic salmon raised in fish farms. These fish provide a consistent supply at a consistent price all year long, but some see farmed salmon as an inferior product and potentially harmful to the oceans.\u003c/p>\n\u003caside class=\"alignright\">\u003cstrong>Local Seafood Resources\u003c/strong>\n\u003cul>\n\u003cli>The latest data from the California Department of Fish and Wildlife shows the \u003ca href=\"https://nrm.dfg.ca.gov/FileHandler.ashx?DocumentID=159550&inline\" target=\"_blank\" rel=\"noopener\">more than 100 species\u003c/a> of seafood that are caught in the Bay Area.\u003c/li>\n\u003cli>The Monterey Bay Aquarium Seafood Watch program \u003ca href=\"https://www.seafoodwatch.org/seafood-recommendations\" target=\"_blank\" rel=\"noopener\">rates seafood\u003c/a> based on its sustainability. It also offers a \u003ca href=\"https://www.seafoodwatch.org/seafood-recommendations/our-app\" target=\"_blank\" rel=\"noopener\">mobile app\u003c/a> and \u003ca href=\"https://www.seafoodwatch.org/-/m/sfw/pdf/guides/mba-seafoodwatch-west-coast-guide.pdf?la=en\" target=\"_blank\" rel=\"noopener\">printable consumer guides\u003c/a>.\u003c/li>\n\u003cli>The Ferry Plaza Farmers Market at the Ferry Building in San Francisco has a list of \u003ca href=\"https://cuesa.org/eat-seasonally/charts/seafood\" target=\"_blank\" rel=\"noopener\">15 local seafood options\u003c/a> sold seasonally at its market.\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/bayareabites/99587/bay-area-bites-guide-to-8-places-to-buy-fresh-fish\" target=\"_blank\" rel=\"noopener\">Bay Area Bites Guide to 8 Great Places to Buy Fresh Fish\u003c/a> (KQED)\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfchronicle.com/recipes/article/The-seafood-calendar-What-s-in-season-locally-6403686.php\" target=\"_blank\" rel=\"noopener\">The seafood calendar: What’s in season locally\u003c/a> (San Francisco Chronicle)\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Wholesale farmed salmon sells for around $8 per pound year-round, while wild-caught salmon is going for closer to $20 per pound this year, and isn’t guaranteed to be available every day even in season.\u003c/p>\n\u003cp>Belov doesn’t offer farmed salmon at Fish restaurant or TwoXSea, instead choosing to only buy and serve seafood that can be traced all the way back to the boat it was caught on and the person who reeled it in.\u003c/p>\n\u003cp>“To me that’s what makes food taste better. It’s not just food on a plate. It’s the story of the men and women who work so hard to get those ingredients,” he said.\u003c/p>\n\u003cp>But he knows doing that raises his costs, and he says part of the reason more restaurants aren’t willing to take on those extra costs is because there’s not enough demand from consumers.\u003c/p>\n\u003cp>“It seems like when it comes to seafood we just don’t want to pay a lot for it,” Belov said of Bay Area diners. “We’re still kind of in that fish-stick mentality of it’s cheap, it’s protein and it’s abundant.”\u003c/p>\n\u003cp>On the other hand, consumers in places like China and Japan are more than willing to pay top dollar for many of the region’s top catches, including crab, spiny lobster and black cod.\u003c/p>\n\u003cfigure id=\"attachment_11762131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11762131\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-800x600.jpg\" alt=\"Salmon for sale at Berkeley Bowl on June 22, 2019.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locally caught chinook salmon for sale at the Berkeley Bowl on June 22, 2019. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Where Are the Fish?\u003c/h3>\n\u003cp>It’s not just about the demand; the supply of wild-caught Bay Area seafood has been in flux in recent years.\u003c/p>\n\u003cp>Several California fisheries, including chinook salmon, Dungeness crab and rockfish, have been curtailed or temporarily shut down in recent years due to population declines traced to overfishing, water diversions, habitat destruction and drought, among other factors.\u003c/p>\n\u003cp>“The number of fish that we can actually catch has gone way down,” said Mike Hudson, who has worked as a commercial fisherman in the Bay Area for decades, catching mostly salmon.\u003c/p>\n\u003cp>Hudson remembers years when the region’s chinook salmon season netted more than a million fish in just a few months. But the salmon fishery was completely shut down in 2008 and 2009, and it has been carefully managed ever since.\u003c/p>\n\u003cfigure id=\"attachment_11762130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11762130\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-800x600.jpg\" alt=\"Commercial fisherman Mike Hudson off-loads a boat full of chinook salmon at Pillar Point Harbor in Half Moon Bay.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Commercial fisherman Mike Hudson offloads a boat full of chinook salmon at Pillar Point Harbor in Half Moon Bay. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were \u003ca href=\"https://www.sfchronicle.com/food/article/California-salmon-season-nears-with-hopes-of-a-13772919.php\" target=\"_blank\" rel=\"noopener\">significant restrictions\u003c/a> placed on salmon season the past three years, resulting in fewer fish and prices jumping to around $30 to $35 per pound.\u003c/p>\n\u003cp>“People used to come to our farmers markets and buy 2 pounds of salmon or 4 pounds of salmon for their family for the entire week,” Hudson said. “Now the same people come and they buy half a pound.”\u003c/p>\n\u003cp>Attempts to restore habitat, improve salmon hatchery practices and recent wet winters have fishermen like Hudson \u003ca href=\"https://www.sfchronicle.com/food/article/California-fishermen-report-the-biggest-salmon-14028875.php\" target=\"_blank\" rel=\"noopener\">feeling optimistic\u003c/a> about the upcoming and future salmon seasons, but the salmon population is still far from the million-fish seasons of Hudson’s early days, and a fillet still costs around $20 per pound.\u003c/p>\n\u003ch3>Knowledge Is Power\u003c/h3>\n\u003cp>But it’s not all about how much local, wild-caught seafood costs.\u003c/p>\n\u003cp>“There’s also just a lack of awareness,” said Jana Hennig, the executive director of \u003ca href=\"https://www.positivelygroundfish.org/\" target=\"_blank\" rel=\"noopener\">Positively Groundfish\u003c/a>, a nonprofit that promotes groundfish caught on the West Coast. “Most people just don’t know what is even a local species here in California.”\u003c/p>\n\u003cp>Many of the 90 or so species of groundfish that Hennig works with — which include Pacific cod, rockfish and sole — aren’t as expensive as better-known Dungeness crab or chinook salmon.\u003c/p>\n\u003cp>But because many consumers aren’t as aware of the breadth of local options, Hennig said many Bay Area chefs are hesitant to feature them on their menu, even with the low cost.\u003c/p>\n\u003cp>“If more people actually went to restaurants and said, ‘Hey, do you have any local seafood? And do you ever serve rockfish?’ They’d be far more inclined to actually put it on the menu,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rayan Rafay was prepared to be blown away by Bay Area seafood when he moved here in 2016.\u003c/p>\n\u003cp>After growing up on the East Coast, he had been amazed by the seafood he encountered when he moved to Vancouver, British Columbia.\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s just this like magical wonderland of seafood,” he said. “Chefs just did things with seafood on the West Coast that I’d never even imagined in my lemon butter world of fish.”\u003c/p>\n\u003cp>Rafay said he saw this in Vancouver, Seattle and Portland, and he assumed he would find the same thing when he moved to the Bay Area. After all, it’s a place with a long tradition of fishing and home to many immigrant groups — Chinese, Japanese, Italians and others — for whom fish play a big part in culture and diet.\u003c/p>\n\u003cp>Rafay even went out on local waters with a commercial fisherman and caught his own rock cod and halibut. But back on land, he wasn’t seeing those local catches showing up on many local menus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I couldn’t find any of the fish that I’m pretty sure are right outside in the ocean,” he said.\u003c/p>\n\u003cp>So he asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a>: With the Pacific Ocean right there, \u003cstrong>why isn’t local seafood a bigger deal in the Bay Area?\u003c/strong>\u003c/p>\n\u003ch3>Show Me the Money\u003c/h3>\n\u003cp>Like many things in the Bay Area, the seeming dearth of a robust local seafood scene can be traced in part to the cost of doing business — and that, in turn, can be traced to the region’s high real estate costs.\u003c/p>\n\u003cp>“How expensive it is to stay in business in the Bay Area means that all of us who are in business are trying to find ways to cut costs, and we are cutting costs in the ingredients that we are using,” said Kenny Belov, who runs Fish restaurant in Sausalito and TwoXSea, a seafood wholesaler at Fisherman’s Wharf in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11762128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11762128 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/RS37415_IMG_1609-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS37415_IMG_1609-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS37415_IMG_1609-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS37415_IMG_1609-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS37415_IMG_1609-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS37415_IMG_1609-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lourdes Mendoza guts rockfish at TwoXSea, a seafood wholesaler at Fisherman’s Wharf in San Francisco on May 31, 2019. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area restaurants have to deal with high rents and high salaries among other costs, and adding in the volatility and uncertainty that comes with buying local, wild-caught seafood can make things even tougher.\u003c/p>\n\u003cp>It’s much easier and more economical, according to Belov, for restaurants to serve Atlantic salmon raised in fish farms. These fish provide a consistent supply at a consistent price all year long, but some see farmed salmon as an inferior product and potentially harmful to the oceans.\u003c/p>\n\u003caside class=\"alignright\">\u003cstrong>Local Seafood Resources\u003c/strong>\n\u003cul>\n\u003cli>The latest data from the California Department of Fish and Wildlife shows the \u003ca href=\"https://nrm.dfg.ca.gov/FileHandler.ashx?DocumentID=159550&inline\" target=\"_blank\" rel=\"noopener\">more than 100 species\u003c/a> of seafood that are caught in the Bay Area.\u003c/li>\n\u003cli>The Monterey Bay Aquarium Seafood Watch program \u003ca href=\"https://www.seafoodwatch.org/seafood-recommendations\" target=\"_blank\" rel=\"noopener\">rates seafood\u003c/a> based on its sustainability. It also offers a \u003ca href=\"https://www.seafoodwatch.org/seafood-recommendations/our-app\" target=\"_blank\" rel=\"noopener\">mobile app\u003c/a> and \u003ca href=\"https://www.seafoodwatch.org/-/m/sfw/pdf/guides/mba-seafoodwatch-west-coast-guide.pdf?la=en\" target=\"_blank\" rel=\"noopener\">printable consumer guides\u003c/a>.\u003c/li>\n\u003cli>The Ferry Plaza Farmers Market at the Ferry Building in San Francisco has a list of \u003ca href=\"https://cuesa.org/eat-seasonally/charts/seafood\" target=\"_blank\" rel=\"noopener\">15 local seafood options\u003c/a> sold seasonally at its market.\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/bayareabites/99587/bay-area-bites-guide-to-8-places-to-buy-fresh-fish\" target=\"_blank\" rel=\"noopener\">Bay Area Bites Guide to 8 Great Places to Buy Fresh Fish\u003c/a> (KQED)\u003c/li>\n\u003cli>\u003ca href=\"https://www.sfchronicle.com/recipes/article/The-seafood-calendar-What-s-in-season-locally-6403686.php\" target=\"_blank\" rel=\"noopener\">The seafood calendar: What’s in season locally\u003c/a> (San Francisco Chronicle)\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Wholesale farmed salmon sells for around $8 per pound year-round, while wild-caught salmon is going for closer to $20 per pound this year, and isn’t guaranteed to be available every day even in season.\u003c/p>\n\u003cp>Belov doesn’t offer farmed salmon at Fish restaurant or TwoXSea, instead choosing to only buy and serve seafood that can be traced all the way back to the boat it was caught on and the person who reeled it in.\u003c/p>\n\u003cp>“To me that’s what makes food taste better. It’s not just food on a plate. It’s the story of the men and women who work so hard to get those ingredients,” he said.\u003c/p>\n\u003cp>But he knows doing that raises his costs, and he says part of the reason more restaurants aren’t willing to take on those extra costs is because there’s not enough demand from consumers.\u003c/p>\n\u003cp>“It seems like when it comes to seafood we just don’t want to pay a lot for it,” Belov said of Bay Area diners. “We’re still kind of in that fish-stick mentality of it’s cheap, it’s protein and it’s abundant.”\u003c/p>\n\u003cp>On the other hand, consumers in places like China and Japan are more than willing to pay top dollar for many of the region’s top catches, including crab, spiny lobster and black cod.\u003c/p>\n\u003cfigure id=\"attachment_11762131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11762131\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-800x600.jpg\" alt=\"Salmon for sale at Berkeley Bowl on June 22, 2019.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38122_IMG_3927-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locally caught chinook salmon for sale at the Berkeley Bowl on June 22, 2019. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Where Are the Fish?\u003c/h3>\n\u003cp>It’s not just about the demand; the supply of wild-caught Bay Area seafood has been in flux in recent years.\u003c/p>\n\u003cp>Several California fisheries, including chinook salmon, Dungeness crab and rockfish, have been curtailed or temporarily shut down in recent years due to population declines traced to overfishing, water diversions, habitat destruction and drought, among other factors.\u003c/p>\n\u003cp>“The number of fish that we can actually catch has gone way down,” said Mike Hudson, who has worked as a commercial fisherman in the Bay Area for decades, catching mostly salmon.\u003c/p>\n\u003cp>Hudson remembers years when the region’s chinook salmon season netted more than a million fish in just a few months. But the salmon fishery was completely shut down in 2008 and 2009, and it has been carefully managed ever since.\u003c/p>\n\u003cfigure id=\"attachment_11762130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11762130\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-800x600.jpg\" alt=\"Commercial fisherman Mike Hudson off-loads a boat full of chinook salmon at Pillar Point Harbor in Half Moon Bay.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-1200x900.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-1832x1374.jpg 1832w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-1376x1032.jpg 1376w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-1044x783.jpg 1044w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/07/RS38123_IMG_7086-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Commercial fisherman Mike Hudson offloads a boat full of chinook salmon at Pillar Point Harbor in Half Moon Bay. \u003ccite>(Ryan Levi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were \u003ca href=\"https://www.sfchronicle.com/food/article/California-salmon-season-nears-with-hopes-of-a-13772919.php\" target=\"_blank\" rel=\"noopener\">significant restrictions\u003c/a> placed on salmon season the past three years, resulting in fewer fish and prices jumping to around $30 to $35 per pound.\u003c/p>\n\u003cp>“People used to come to our farmers markets and buy 2 pounds of salmon or 4 pounds of salmon for their family for the entire week,” Hudson said. “Now the same people come and they buy half a pound.”\u003c/p>\n\u003cp>Attempts to restore habitat, improve salmon hatchery practices and recent wet winters have fishermen like Hudson \u003ca href=\"https://www.sfchronicle.com/food/article/California-fishermen-report-the-biggest-salmon-14028875.php\" target=\"_blank\" rel=\"noopener\">feeling optimistic\u003c/a> about the upcoming and future salmon seasons, but the salmon population is still far from the million-fish seasons of Hudson’s early days, and a fillet still costs around $20 per pound.\u003c/p>\n\u003ch3>Knowledge Is Power\u003c/h3>\n\u003cp>But it’s not all about how much local, wild-caught seafood costs.\u003c/p>\n\u003cp>“There’s also just a lack of awareness,” said Jana Hennig, the executive director of \u003ca href=\"https://www.positivelygroundfish.org/\" target=\"_blank\" rel=\"noopener\">Positively Groundfish\u003c/a>, a nonprofit that promotes groundfish caught on the West Coast. “Most people just don’t know what is even a local species here in California.”\u003c/p>\n\u003cp>Many of the 90 or so species of groundfish that Hennig works with — which include Pacific cod, rockfish and sole — aren’t as expensive as better-known Dungeness crab or chinook salmon.\u003c/p>\n\u003cp>But because many consumers aren’t as aware of the breadth of local options, Hennig said many Bay Area chefs are hesitant to feature them on their menu, even with the low cost.\u003c/p>\n\u003cp>“If more people actually went to restaurants and said, ‘Hey, do you have any local seafood? And do you ever serve rockfish?’ They’d be far more inclined to actually put it on the menu,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "fifty-years-on-apollo-11-spacesuit-continues-to-influence-imaginations-and-new-designs",
"title": "50 Years on, Apollo 11 Spacesuit Continues to Influence Imaginations and New Designs",
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"headTitle": "50 Years on, Apollo 11 Spacesuit Continues to Influence Imaginations and New Designs | KQED",
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"content": "\u003cp>Neil Armstrong’s spacesuit has been slowly deteriorating in the 50 years since he became the first human to set foot on the moon.\u003c/p>\n\u003cp>“The materials from which the suit was made were not expected to last much longer than the Apollo mission itself,” said Cathleen Lewis, curator of International Space Programs and Spacesuits at the \u003ca href=\"https://airandspace.si.edu/\" target=\"_blank\" rel=\"noopener\">Smithsonian Institution’s National Air and Space Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11761532\" class=\"wp-caption alignright\" style=\"max-width: 590px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761532\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/neil-armstrong.jpg\" alt=\"Portrait of Astronaut Neil A. Armstrong, commander of the Apollo 11 Lunar Landing mission in his space suit, with his helmet on the table in front of him. Behind him is a large photograph of the lunar surface.\" width=\"590\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/neil-armstrong.jpg 590w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/neil-armstrong-160x195.jpg 160w\" sizes=\"(max-width: 590px) 100vw, 590px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of Astronaut Neil A. Armstrong, commander of the Apollo 11 lunar landing mission in his spacesuit, with his helmet on the table in front of him. Behind him is a large photograph of the lunar surface. \u003ccite>(Courtesy of NASA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the near-mythic status of the outfit, with its white, marshmallow-like coveralls and gold-fronted, fishbowl-shaped helmet, has persisted in intervening decades. It continues to capture imaginations and to influence what astronauts are wearing in space today.\u003c/p>\n\u003cp>TV personality \u003ca href=\"https://adamsavage.com/\" target=\"_blank\" rel=\"noopener\">Adam Savage\u003c/a> is so in awe of the suit that he commissioned a replica. “I am standing next to the Ur-spacesuit; The O.G.,” he said about his then-new possession on the popular science and technology website, \u003ca href=\"https://www.tested.com/\" target=\"_blank\" rel=\"noopener\">Tested\u003c/a>. “This is what my brain thinks of when I think of spacesuit.”\u003c/p>\n\u003cp>The Apollo 11 suit is also one of the most reproduced images in all of photographic history. In the Bay Area this summer, you can see three-dimensional reproductions of it behind home plate at \u003ca href=\"https://airandspace.si.edu/apollo-park\" target=\"_blank\" rel=\"noopener\">the San Francisco Giants’ Oracle Park.\u003c/a> It’s also the first thing you encounter at the entrance to the San Francisco Museum of Modern Art’s new exhibition, “\u003ca href=\"https://www.sfmoma.org/exhibition/far-out-suits-habs-and-labs-for-outer-space/\" target=\"_blank\" rel=\"noopener\">Far Out: Suits, Habs, and Labs for Outer Space\u003c/a>.”\u003c/p>\n\u003cp>And its bulky contours have been riffed on countless times in pop culture, in movies like “\u003ca href=\"https://www.imdb.com/title/tt3659388/\" target=\"_blank\" rel=\"noopener\">The Martian\u003c/a>” starring Matt Damon and in Pixar’s “\u003ca href=\"https://en.wikipedia.org/wiki/Toy_Story_(franchise)\" target=\"_blank\" rel=\"noopener\">Toy Story\u003c/a>” series, clothing the astronaut character Buzz Lightyear.\u003c/p>\n\u003cp>Lewis said Armstrong’s spacesuit was essential to the success of the Apollo 11 mission.\u003c/p>\n\u003cp>“Without that suit, Neil Armstrong could not have made that ‘one small step for man’ and stepped down out of the lunar module,” she said.\u003c/p>\n\u003cp>https://youtu.be/sNeou5p5f5s\u003c/p>\n\u003cp>That’s because the suit itself represents such a giant leap in engineering and design.\u003c/p>\n\u003cp>“The Apollo suit for the very first time had to be a suit in which you could literally walk around, bend over, do all kinds of work on the surface of the moon,” said \u003ca href=\"https://ced.berkeley.edu/ced/faculty-staff/nicholas-de-monchaux\" target=\"_blank\" rel=\"noopener\">Nicholas de Monchaux\u003c/a>, a professor of architecture, design and new media at UC Berkeley, and the author of the book “\u003ca href=\"http://fashioningapollo.com/\" target=\"_blank\" rel=\"noopener\">Spacesuit: Fashioning Apollo\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11762020\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-800x800.jpg\" alt=\"An exhibit in the San Francisco Museum of Modern Art's new exhibition, "Far Out: Suits, Habs, and Labs for Outer Space."\" width=\"800\" height=\"800\" class=\"size-medium wp-image-11762020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-1472x1472.jpg 1472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-1104x1104.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-470x470.jpg 470w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit in the San Francisco Museum of Modern Art’s new exhibition, “Far Out: Suits, Habs, and Labs for Outer Space.” \u003ccite>(Courtesy SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De Monchaux said the Apollo suit was safer, more durable and allowed greater mobility than its predecessors in the harsh, zero gravity conditions of space.\u003c/p>\n\u003cp>“The suit had 21 different layers of fabric, literally layered together like the human skin,” he said.\u003c/p>\n\u003cp>At the \u003ca href=\"https://chabotspace.org/\" target=\"_blank\" rel=\"noopener\">Chabot Space and Science Center\u003c/a> in Oakland, astronomer Gerald McKeegan brought out samples of some of these layers.\u003c/p>\n\u003cp>The materials are crinkly and super light. They look like flimsy sheets of silver tinfoil. McKeegan said they’re actually made of aluminum-coated Mylar, a type of plastic film which acts as a barrier against heat.\u003c/p>\n\u003cp>“These were extremely efficient at keeping the astronauts cool inside,” McKeegan said. “It could be 200 degrees on the outside and 75 degrees on the inside.”\u003c/p>\n\u003cp>Spacesuits today still more or less look the same from the outside as they did in 1969 — and they use some similar technologies, like layers that regulate body temperature.\u003c/p>\n\u003cfigure id=\"attachment_11761533\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11761533\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-800x600.jpg\" alt=\"Chabot Space and Science Center astronomer Gerald McKeegan shows off some of the Apollo 11 spacesuit's 21 inner layers.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chabot Space and Science Center astronomer Gerald McKeegan shows off some of the Apollo 11 spacesuit’s 21 inner layers. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But they’ve also evolved a great deal since the first moon landing.\u003c/p>\n\u003cp>Armstrong’s was a soft-shelled, custom-tailored, one-piece affair. \u003ca href=\"https://www.nasa.gov/audience/foreducators/spacesuits/careercorner/amy-ross.html\" target=\"_blank\" rel=\"noopener\">NASA spacesuit engineer Amy Ross\u003c/a> said today’s suits, which have been in play since the start of the shuttle program, come with a hard upper torso and in different-sized modular parts. So anyone can wear them — no matter their size or gender.\u003c/p>\n\u003cp>“I just build small, medium, large and extra large, and make sure that all the different folks — male or female — who might be getting the suits in those sizes, can do their job in that size,” Ross said.\u003c/p>\n\u003cp>Ross also said today’s fabrics have changed.\u003c/p>\n\u003cp>For example, they include natural fibers, once thought of as too flammable.\u003c/p>\n\u003cp>Ross said NASA has upped its metal game, too.\u003c/p>\n\u003cp>“We used to be focused on aluminum, then stainless steel,” she said. “And now we’re trying to use more titanium. It’s stronger. It’s lighter.”\u003c/p>\n\u003cp>The commercial space programs of companies like \u003ca href=\"https://www.boeing.com/space/\" target=\"_blank\" rel=\"noopener\">Boeing\u003c/a> and \u003ca href=\"https://www.spacex.com/\" target=\"_blank\" rel=\"noopener\">SpaceX\u003c/a> are now taking the spacesuit in a more fashionable direction, much to the delight of the media.\u003c/p>\n\u003cp>https://youtu.be/y8Pj9T_X1XM\u003c/p>\n\u003cp>Specialist blogs and mainstream TV talk shows alike devoted considerable attention to the unveiling of the SpaceX suit in 2017.\u003c/p>\n\u003cp>But these efforts have so far been mostly focused on suits that can be used only \u003cem>inside\u003c/em> spacecraft.\u003c/p>\n\u003cp>They couldn’t withstand the hazards \u003cem>outside\u003c/em>; the extreme temperatures and flying debris that working astronauts encounter when they step out into the void of deep space.\u003c/p>\n\u003cp>For now, bulky white coveralls, helmets and backpacks — really, refined versions of the Apollo suit — are what’s needed if astronauts want to kick up moon dust once again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "\"Without that suit, Neil Armstrong could not have made that ‘one small step for man’ and stepped down out of the lunar module,\" said Cathleen Lewis, curator of International Space Programs and Spacesuits at the Smithsonian Institution's National Air and Space Museum.",
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"title": "50 Years on, Apollo 11 Spacesuit Continues to Influence Imaginations and New Designs | KQED",
"description": ""Without that suit, Neil Armstrong could not have made that ‘one small step for man’ and stepped down out of the lunar module," said Cathleen Lewis, curator of International Space Programs and Spacesuits at the Smithsonian Institution's National Air and Space Museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neil Armstrong’s spacesuit has been slowly deteriorating in the 50 years since he became the first human to set foot on the moon.\u003c/p>\n\u003cp>“The materials from which the suit was made were not expected to last much longer than the Apollo mission itself,” said Cathleen Lewis, curator of International Space Programs and Spacesuits at the \u003ca href=\"https://airandspace.si.edu/\" target=\"_blank\" rel=\"noopener\">Smithsonian Institution’s National Air and Space Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11761532\" class=\"wp-caption alignright\" style=\"max-width: 590px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761532\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/neil-armstrong.jpg\" alt=\"Portrait of Astronaut Neil A. Armstrong, commander of the Apollo 11 Lunar Landing mission in his space suit, with his helmet on the table in front of him. Behind him is a large photograph of the lunar surface.\" width=\"590\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/neil-armstrong.jpg 590w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/neil-armstrong-160x195.jpg 160w\" sizes=\"(max-width: 590px) 100vw, 590px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of Astronaut Neil A. Armstrong, commander of the Apollo 11 lunar landing mission in his spacesuit, with his helmet on the table in front of him. Behind him is a large photograph of the lunar surface. \u003ccite>(Courtesy of NASA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the near-mythic status of the outfit, with its white, marshmallow-like coveralls and gold-fronted, fishbowl-shaped helmet, has persisted in intervening decades. It continues to capture imaginations and to influence what astronauts are wearing in space today.\u003c/p>\n\u003cp>TV personality \u003ca href=\"https://adamsavage.com/\" target=\"_blank\" rel=\"noopener\">Adam Savage\u003c/a> is so in awe of the suit that he commissioned a replica. “I am standing next to the Ur-spacesuit; The O.G.,” he said about his then-new possession on the popular science and technology website, \u003ca href=\"https://www.tested.com/\" target=\"_blank\" rel=\"noopener\">Tested\u003c/a>. “This is what my brain thinks of when I think of spacesuit.”\u003c/p>\n\u003cp>The Apollo 11 suit is also one of the most reproduced images in all of photographic history. In the Bay Area this summer, you can see three-dimensional reproductions of it behind home plate at \u003ca href=\"https://airandspace.si.edu/apollo-park\" target=\"_blank\" rel=\"noopener\">the San Francisco Giants’ Oracle Park.\u003c/a> It’s also the first thing you encounter at the entrance to the San Francisco Museum of Modern Art’s new exhibition, “\u003ca href=\"https://www.sfmoma.org/exhibition/far-out-suits-habs-and-labs-for-outer-space/\" target=\"_blank\" rel=\"noopener\">Far Out: Suits, Habs, and Labs for Outer Space\u003c/a>.”\u003c/p>\n\u003cp>And its bulky contours have been riffed on countless times in pop culture, in movies like “\u003ca href=\"https://www.imdb.com/title/tt3659388/\" target=\"_blank\" rel=\"noopener\">The Martian\u003c/a>” starring Matt Damon and in Pixar’s “\u003ca href=\"https://en.wikipedia.org/wiki/Toy_Story_(franchise)\" target=\"_blank\" rel=\"noopener\">Toy Story\u003c/a>” series, clothing the astronaut character Buzz Lightyear.\u003c/p>\n\u003cp>Lewis said Armstrong’s spacesuit was essential to the success of the Apollo 11 mission.\u003c/p>\n\u003cp>“Without that suit, Neil Armstrong could not have made that ‘one small step for man’ and stepped down out of the lunar module,” she said.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sNeou5p5f5s'\n title='//www.youtube.com/embed/sNeou5p5f5s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s because the suit itself represents such a giant leap in engineering and design.\u003c/p>\n\u003cp>“The Apollo suit for the very first time had to be a suit in which you could literally walk around, bend over, do all kinds of work on the surface of the moon,” said \u003ca href=\"https://ced.berkeley.edu/ced/faculty-staff/nicholas-de-monchaux\" target=\"_blank\" rel=\"noopener\">Nicholas de Monchaux\u003c/a>, a professor of architecture, design and new media at UC Berkeley, and the author of the book “\u003ca href=\"http://fashioningapollo.com/\" target=\"_blank\" rel=\"noopener\">Spacesuit: Fashioning Apollo\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11762020\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-800x800.jpg\" alt=\"An exhibit in the San Francisco Museum of Modern Art's new exhibition, "Far Out: Suits, Habs, and Labs for Outer Space."\" width=\"800\" height=\"800\" class=\"size-medium wp-image-11762020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-1472x1472.jpg 1472w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-1104x1104.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-912x912.jpg 912w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-550x550.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/SFMOMA-Astronaut-470x470.jpg 470w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An exhibit in the San Francisco Museum of Modern Art’s new exhibition, “Far Out: Suits, Habs, and Labs for Outer Space.” \u003ccite>(Courtesy SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De Monchaux said the Apollo suit was safer, more durable and allowed greater mobility than its predecessors in the harsh, zero gravity conditions of space.\u003c/p>\n\u003cp>“The suit had 21 different layers of fabric, literally layered together like the human skin,” he said.\u003c/p>\n\u003cp>At the \u003ca href=\"https://chabotspace.org/\" target=\"_blank\" rel=\"noopener\">Chabot Space and Science Center\u003c/a> in Oakland, astronomer Gerald McKeegan brought out samples of some of these layers.\u003c/p>\n\u003cp>The materials are crinkly and super light. They look like flimsy sheets of silver tinfoil. McKeegan said they’re actually made of aluminum-coated Mylar, a type of plastic film which acts as a barrier against heat.\u003c/p>\n\u003cp>“These were extremely efficient at keeping the astronauts cool inside,” McKeegan said. “It could be 200 degrees on the outside and 75 degrees on the inside.”\u003c/p>\n\u003cp>Spacesuits today still more or less look the same from the outside as they did in 1969 — and they use some similar technologies, like layers that regulate body temperature.\u003c/p>\n\u003cfigure id=\"attachment_11761533\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11761533\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-800x600.jpg\" alt=\"Chabot Space and Science Center astronomer Gerald McKeegan shows off some of the Apollo 11 spacesuit's 21 inner layers.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan-536x402.jpg 536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/07/Gerald-McKeegan.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chabot Space and Science Center astronomer Gerald McKeegan shows off some of the Apollo 11 spacesuit’s 21 inner layers. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But they’ve also evolved a great deal since the first moon landing.\u003c/p>\n\u003cp>Armstrong’s was a soft-shelled, custom-tailored, one-piece affair. \u003ca href=\"https://www.nasa.gov/audience/foreducators/spacesuits/careercorner/amy-ross.html\" target=\"_blank\" rel=\"noopener\">NASA spacesuit engineer Amy Ross\u003c/a> said today’s suits, which have been in play since the start of the shuttle program, come with a hard upper torso and in different-sized modular parts. So anyone can wear them — no matter their size or gender.\u003c/p>\n\u003cp>“I just build small, medium, large and extra large, and make sure that all the different folks — male or female — who might be getting the suits in those sizes, can do their job in that size,” Ross said.\u003c/p>\n\u003cp>Ross also said today’s fabrics have changed.\u003c/p>\n\u003cp>For example, they include natural fibers, once thought of as too flammable.\u003c/p>\n\u003cp>Ross said NASA has upped its metal game, too.\u003c/p>\n\u003cp>“We used to be focused on aluminum, then stainless steel,” she said. “And now we’re trying to use more titanium. It’s stronger. It’s lighter.”\u003c/p>\n\u003cp>The commercial space programs of companies like \u003ca href=\"https://www.boeing.com/space/\" target=\"_blank\" rel=\"noopener\">Boeing\u003c/a> and \u003ca href=\"https://www.spacex.com/\" target=\"_blank\" rel=\"noopener\">SpaceX\u003c/a> are now taking the spacesuit in a more fashionable direction, much to the delight of the media.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/y8Pj9T_X1XM'\n title='//www.youtube.com/embed/y8Pj9T_X1XM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Specialist blogs and mainstream TV talk shows alike devoted considerable attention to the unveiling of the SpaceX suit in 2017.\u003c/p>\n\u003cp>But these efforts have so far been mostly focused on suits that can be used only \u003cem>inside\u003c/em> spacecraft.\u003c/p>\n\u003cp>They couldn’t withstand the hazards \u003cem>outside\u003c/em>; the extreme temperatures and flying debris that working astronauts encounter when they step out into the void of deep space.\u003c/p>\n\u003cp>For now, bulky white coveralls, helmets and backpacks — really, refined versions of the Apollo suit — are what’s needed if astronauts want to kick up moon dust once again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Ghost Ship Trial Nearing End as Rebuttal Witnesses Take Stand",
"title": "Ghost Ship Trial Nearing End as Rebuttal Witnesses Take Stand",
"headTitle": "KQED News",
"content": "\u003cp>Prosecutors began calling rebuttal witnesses on Monday in the trial of two men who are each charged with 36 counts of involuntary manslaughter, stemming from the Ghost Ship warehouse fire that killed 35 concert-goers and one tenant in Oakland in 2016.\u003c/p>\n\u003cp>The defense rested on Thursday. Alameda County Superior Court Judge Trina Thompson said closing arguments are expected to begin on July 29 and to last three to four days.\u003c/p>\n\u003cp>[aside tag='ghost-ship-trial' label='More Ghost Ship Trial Coverage']\u003c/p>\n\u003cp>Alameda County Assistant District Attorney Casey Bates called Whitney Hameth, an agent with the Bureau of Alcohol, Tobacco, Firearms and Explosives, to ask about interviews she conducted with Darold Leite, a former tenant of the Ghost Ship.\u003c/p>\n\u003cp>Leite \u003ca href=\"https://www.kqed.org/news/11759655/witness-says-he-heard-breaking-bottles-argument-on-night-of-deadly-ghost-ship-blaze\" target=\"_blank\" rel=\"noopener\">testified on July 8\u003c/a> that he had heard bottles breaking and an argument near the time the Dec. 2, 2016, fire broke out, and that he had seen seven to eight men leaving in a hurry through the side exit.\u003c/p>\n\u003cp>But Hameth said Monday that Leite did not tell her anything regarding those events. Hameth testified she, along with other agents, had interviewed Leite on Dec. 3, 2016, and Dec. 5, 2016.\u003c/p>\n\u003cp>Defense attorney Curtis Briggs, who represents Max Harris, asked Hameth if she had specifically questioned Leite about hearing an argument or bottles breaking, to which she answered no.\u003c/p>\n\u003cp>The defense has argued that arson was the cause of the deadly blaze, possibly involving Molotov cocktails. Prosecutors argue that master tenant Derick Almena and Max Harris, who has been referred to as creative director or second-in-command, illegally converted the warehouse into an unsafe living space crammed full of flammable materials without proper safety measures like sprinklers, fire alarms or well-lit exits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alameda County Deputy District Attorney Autrey James called Oakland police Officer Michael Erickson to the stand and asked him about responding to a potential arson fire on Sept. 26, 2014, outside the warehouse. Erickson said Almena had passed him a business card from Oakland Fire Department investigator Maria Sabatini on the morning of that fire.\u003c/p>\n\u003cp>Sabatini \u003ca href=\"https://www.kqed.org/news/11748993/ghost-ship-trial-fire-investigator-casts-doubt-on-defenses-arson-theory\" target=\"_blank\" rel=\"noopener\">testified on May 22\u003c/a> that she did not enter the Ghost Ship the day of that suspected arson in 2014. But both Almena and his wife, Micah Allison, \u003ca href=\"https://www.kqed.org/news/11756955/ghost-ship-defendants-wife-says-law-enforcement-had-been-through-warehouse-many-times\" target=\"_blank\" rel=\"noopener\">gave testimony contradicting that\u003c/a>, saying Sabatini had entered the building to investigate any potential fire damage to the inside.\u003c/p>\n\u003cp>Sabatini's testimony had cast doubt on the defense's assertion that arson was the cause of the deadly 2016 blaze. Although the cause of the fire was never determined, Sabatini said investigators found no evidence of arson, nor did her team hear any witness accounts of the sound of breaking glass.\u003c/p>\n\u003cp>Prosecutors are expected to call two final rebuttal witnesses to the stand Tuesday.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The final two rebuttal witnesses are expected to take the stand Tuesday. Closing arguments in the trial are expected to begin on July 29.",
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"title": "Ghost Ship Trial Nearing End as Rebuttal Witnesses Take Stand | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prosecutors began calling rebuttal witnesses on Monday in the trial of two men who are each charged with 36 counts of involuntary manslaughter, stemming from the Ghost Ship warehouse fire that killed 35 concert-goers and one tenant in Oakland in 2016.\u003c/p>\n\u003cp>The defense rested on Thursday. Alameda County Superior Court Judge Trina Thompson said closing arguments are expected to begin on July 29 and to last three to four days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alameda County Assistant District Attorney Casey Bates called Whitney Hameth, an agent with the Bureau of Alcohol, Tobacco, Firearms and Explosives, to ask about interviews she conducted with Darold Leite, a former tenant of the Ghost Ship.\u003c/p>\n\u003cp>Leite \u003ca href=\"https://www.kqed.org/news/11759655/witness-says-he-heard-breaking-bottles-argument-on-night-of-deadly-ghost-ship-blaze\" target=\"_blank\" rel=\"noopener\">testified on July 8\u003c/a> that he had heard bottles breaking and an argument near the time the Dec. 2, 2016, fire broke out, and that he had seen seven to eight men leaving in a hurry through the side exit.\u003c/p>\n\u003cp>But Hameth said Monday that Leite did not tell her anything regarding those events. Hameth testified she, along with other agents, had interviewed Leite on Dec. 3, 2016, and Dec. 5, 2016.\u003c/p>\n\u003cp>Defense attorney Curtis Briggs, who represents Max Harris, asked Hameth if she had specifically questioned Leite about hearing an argument or bottles breaking, to which she answered no.\u003c/p>\n\u003cp>The defense has argued that arson was the cause of the deadly blaze, possibly involving Molotov cocktails. Prosecutors argue that master tenant Derick Almena and Max Harris, who has been referred to as creative director or second-in-command, illegally converted the warehouse into an unsafe living space crammed full of flammable materials without proper safety measures like sprinklers, fire alarms or well-lit exits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alameda County Deputy District Attorney Autrey James called Oakland police Officer Michael Erickson to the stand and asked him about responding to a potential arson fire on Sept. 26, 2014, outside the warehouse. Erickson said Almena had passed him a business card from Oakland Fire Department investigator Maria Sabatini on the morning of that fire.\u003c/p>\n\u003cp>Sabatini \u003ca href=\"https://www.kqed.org/news/11748993/ghost-ship-trial-fire-investigator-casts-doubt-on-defenses-arson-theory\" target=\"_blank\" rel=\"noopener\">testified on May 22\u003c/a> that she did not enter the Ghost Ship the day of that suspected arson in 2014. But both Almena and his wife, Micah Allison, \u003ca href=\"https://www.kqed.org/news/11756955/ghost-ship-defendants-wife-says-law-enforcement-had-been-through-warehouse-many-times\" target=\"_blank\" rel=\"noopener\">gave testimony contradicting that\u003c/a>, saying Sabatini had entered the building to investigate any potential fire damage to the inside.\u003c/p>\n\u003cp>Sabatini's testimony had cast doubt on the defense's assertion that arson was the cause of the deadly 2016 blaze. Although the cause of the fire was never determined, Sabatini said investigators found no evidence of arson, nor did her team hear any witness accounts of the sound of breaking glass.\u003c/p>\n\u003cp>Prosecutors are expected to call two final rebuttal witnesses to the stand Tuesday.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Forty years ago, the Golden Gate Park Skate Patrol halted a roller skating ban in the park. Roller skaters celebrated the anniversary on Saturday true to form — by rolling, spinning and dancing to music at a paved lot in Hunters Point.\u003c/p>\n\u003cp>“I am the godfather of skating here in San Francisco,” said David G. Miles Junior, who organized the Roller Revival Festival and runs the Church of 8 Wheels.\u003c/p>\n\u003cp>He started skating at Golden Gate Park back in 1979, when he first came to San Francisco. By that point, the city had banned skating in several areas of the park over safety concerns.\u003c/p>\n\u003cfigure id=\"attachment_11761180\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2106-3-e1563064410813.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761180\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2106-3-e1563064410813.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David G. Miles Jr. celebrates the forty year anniversary of rollerskating in San Francisco’s Golden Gate Park on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11761175\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2145-1-e1563063573874.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761175\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2145-1-e1563063573874.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David G. Miles Jr. gives a beginner roller skater, what he dubbed, “the 45-second lesson” on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So me and my friends got together and joined the Skate Patrol, which was the group that was told that if we could manage the people in the areas, then they wouldn’t ban skating,” he said.\u003c/p>\n\u003cp>And, it worked.\u003c/p>\n\u003cfigure id=\"attachment_11761168\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2032-1-e1563062866733.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761168\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2032-1-e1563062866733.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cheryl Dunn, a volunteer with Church of 8 Wheels, helps Harry Williams and his children rent roller skates on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11761148\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2011-e1563063071255.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761148\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2011-e1563063071255.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cheryl Dunn, from the Church of 8 Wheels, doesn’t need to rent her skates — she laces up her own pair on July 13, 2019 in San Francisco, California.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11761167\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2054-1-e1563062834344.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761167\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2054-1-e1563062834344.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Williams teaches his children how to roller skate on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And here it is, like 2019. Some of the original skaters are still here with me,” said Colleen Jones, who started skating 25 years ago in Golden Gate Park. “Oh I love to spin.”\u003c/p>\n\u003cfigure id=\"attachment_11761165\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2185-2-e1563062971283.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761165\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2185-2-e1563062971283.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Colleen Jones shows a new learner the basics of rollerskating on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roller skaters with decades of experience, like Jones, helped the beginners find their footing.\u003c/p>\n\u003cp>But, a word for the wise: it’s not as easy as it looks, said KQED’s Sonja Hutson, who laced up a pair of skates outdoors for the first time.\u003c/p>\n\u003cp>Harry Williams also taught his kids how to roller skate, but his daughter’s skate flew off when she took her first tumble of the day.\u003c/p>\n\u003cp>“We have a saying for that,” said Aimee Bruckner, a roller skating instructor. “‘Skate until your wheels fall of.'”\u003c/p>\n\u003cfigure id=\"attachment_11761152\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2073-e1563062999901.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761152\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2073-e1563062999901.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Williams helps his daughter put her skate back on after a fall on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11761183\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2173-2-e1563064743166.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761183\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2173-2-e1563064743166.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Satise Dizon shows off her skills and zooms by other roller skaters on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forty years ago, the Golden Gate Park Skate Patrol halted a roller skating ban in the park. Roller skaters celebrated the anniversary on Saturday true to form — by rolling, spinning and dancing to music at a paved lot in Hunters Point.\u003c/p>\n\u003cp>“I am the godfather of skating here in San Francisco,” said David G. Miles Junior, who organized the Roller Revival Festival and runs the Church of 8 Wheels.\u003c/p>\n\u003cp>He started skating at Golden Gate Park back in 1979, when he first came to San Francisco. By that point, the city had banned skating in several areas of the park over safety concerns.\u003c/p>\n\u003cfigure id=\"attachment_11761180\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2106-3-e1563064410813.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761180\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2106-3-e1563064410813.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David G. Miles Jr. celebrates the forty year anniversary of rollerskating in San Francisco’s Golden Gate Park on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11761175\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2145-1-e1563063573874.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761175\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2145-1-e1563063573874.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David G. Miles Jr. gives a beginner roller skater, what he dubbed, “the 45-second lesson” on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So me and my friends got together and joined the Skate Patrol, which was the group that was told that if we could manage the people in the areas, then they wouldn’t ban skating,” he said.\u003c/p>\n\u003cp>And, it worked.\u003c/p>\n\u003cfigure id=\"attachment_11761168\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2032-1-e1563062866733.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761168\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2032-1-e1563062866733.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cheryl Dunn, a volunteer with Church of 8 Wheels, helps Harry Williams and his children rent roller skates on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11761148\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2011-e1563063071255.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761148\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2011-e1563063071255.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cheryl Dunn, from the Church of 8 Wheels, doesn’t need to rent her skates — she laces up her own pair on July 13, 2019 in San Francisco, California.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11761167\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2054-1-e1563062834344.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761167\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2054-1-e1563062834344.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Williams teaches his children how to roller skate on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And here it is, like 2019. Some of the original skaters are still here with me,” said Colleen Jones, who started skating 25 years ago in Golden Gate Park. “Oh I love to spin.”\u003c/p>\n\u003cfigure id=\"attachment_11761165\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2185-2-e1563062971283.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761165\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2185-2-e1563062971283.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Colleen Jones shows a new learner the basics of rollerskating on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roller skaters with decades of experience, like Jones, helped the beginners find their footing.\u003c/p>\n\u003cp>But, a word for the wise: it’s not as easy as it looks, said KQED’s Sonja Hutson, who laced up a pair of skates outdoors for the first time.\u003c/p>\n\u003cp>Harry Williams also taught his kids how to roller skate, but his daughter’s skate flew off when she took her first tumble of the day.\u003c/p>\n\u003cp>“We have a saying for that,” said Aimee Bruckner, a roller skating instructor. “‘Skate until your wheels fall of.'”\u003c/p>\n\u003cfigure id=\"attachment_11761152\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2073-e1563062999901.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761152\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2073-e1563062999901.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Harry Williams helps his daughter put her skate back on after a fall on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11761183\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2173-2-e1563064743166.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11761183\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/IMG_2173-2-e1563064743166.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Satise Dizon shows off her skills and zooms by other roller skaters on July 13, 2019 in San Francisco, California. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Curious how much the ground shifted after the two large earthquakes last week in Southern California? NASA has just the map for that question — and it happens to look like beautiful, psychedelic art. \u003c/p>\n\u003cp>On July 4, a 6.4 magnitude quake hit the town of Ridgecrest, north of Los Angeles. The next evening, the area was jolted again by a 7.1 magnitude earthquake. Luckily, there were no serious injuries or major infrastructure damage. \u003c/p>\n\u003cp>[aside label=\"Earthquakes in California\" tag=\"earthquakes\"]\u003c/p>\n\u003cp>The map was created by the Advanced Rapid Imaging and Analysis team at NASA’s Jet Propulsion Laboratory. It shows rippling rainbows forming a circular pattern around the faults of the two quakes. \u003c/p>\n\u003cp>Each rainbow stripes means that the ground has been displaced there by some 4.8 inches. It’s the same logic as a topographic map, where lines that are closer together indicate steeper slopes. In this case, the closer together the rainbow stripes are, the more the ground was displaced by the temblor.\u003c/p>\n\u003cp>Eric Fielding, a geophysicist at JPL, says the parts of the map along the fault where the colors appear jumbled suggest even more dramatic movement of the ground. \u003c/p>\n\u003cp>He explains how they mapped the changes.\u003c/p>\n\u003cp>“We’ve taken a radar image of before the earthquake and another image after the earthquake,” Fielding tells NPR. They then compared each point’s change between the two images. “That allows us to measure the amounts that the ground moved either towards or away from the satellite.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The scientists used data collected by radar from the Japanese satellite ALOS-2. Fielding says the radar can detect movement as small as half an inch. \u003c/p>\n\u003cp>Here’s \u003ca href=\"https://photojournal.jpl.nasa.gov/catalog/PIA23351\">another map produced by NASA\u003c/a> that shows the same information in a different way:\u003c/p>\n\u003cfigure id=\"attachment_11761034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/jpl_custom-9a0eb3cc8767938f707babf0cba8468f1949ab43-s1600-c85-800x894.jpg\" alt=\"This map created by NASA shows how much the ground moved during a series of earthquakes in Southern California's Ridgecrest area.\" width=\"800\" height=\"894\" class=\"size-medium wp-image-11761034\">\u003cfigcaption class=\"wp-caption-text\">This map created by NASA shows how much the ground moved during a series of earthquakes in Southern California’s Ridgecrest area.\u003c/figcaption>\u003c/figure>\n\u003cp>In this one, the difference in color makes it easier to see that the earth’s surface moved in different directions along the fault. “We can see clearly the two sides of the fault moved in opposite directions,” he said. \u003c/p>\n\u003cp>The long line of green circles on the map running from the northwest to the southeast is the fault that ruptured during the larger earthquake on July 5. Fields says the fault rupture measures some 30 miles long. The line of green circles cutting into that fault almost at a right angle is the rupture from the smaller earthquake on July 4. \u003c/p>\n\u003cp>“The 6.4 did a fault that goes almost exactly perpendicular to the 7.1,” he said.\u003c/p>\n\u003cp>The blue area west of the largest fault moved by as much as 2.7 feet northwest during the biggest quake, while the red area moved by as much as 2 feet southeast, according to NASA. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rippling+Rainbow+Map+Shows+How+California+Earthquakes+Moved+The+Earth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The map was created by the Advanced Rapid Imaging and Analysis team at NASA’s Jet Propulsion Laboratory. It shows rippling rainbows forming a circular pattern around the faults of the two quakes. \u003c/p>\n\u003cp>Each rainbow stripes means that the ground has been displaced there by some 4.8 inches. It’s the same logic as a topographic map, where lines that are closer together indicate steeper slopes. In this case, the closer together the rainbow stripes are, the more the ground was displaced by the temblor.\u003c/p>\n\u003cp>Eric Fielding, a geophysicist at JPL, says the parts of the map along the fault where the colors appear jumbled suggest even more dramatic movement of the ground. \u003c/p>\n\u003cp>He explains how they mapped the changes.\u003c/p>\n\u003cp>“We’ve taken a radar image of before the earthquake and another image after the earthquake,” Fielding tells NPR. They then compared each point’s change between the two images. “That allows us to measure the amounts that the ground moved either towards or away from the satellite.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The scientists used data collected by radar from the Japanese satellite ALOS-2. Fielding says the radar can detect movement as small as half an inch. \u003c/p>\n\u003cp>Here’s \u003ca href=\"https://photojournal.jpl.nasa.gov/catalog/PIA23351\">another map produced by NASA\u003c/a> that shows the same information in a different way:\u003c/p>\n\u003cfigure id=\"attachment_11761034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/07/jpl_custom-9a0eb3cc8767938f707babf0cba8468f1949ab43-s1600-c85-800x894.jpg\" alt=\"This map created by NASA shows how much the ground moved during a series of earthquakes in Southern California's Ridgecrest area.\" width=\"800\" height=\"894\" class=\"size-medium wp-image-11761034\">\u003cfigcaption class=\"wp-caption-text\">This map created by NASA shows how much the ground moved during a series of earthquakes in Southern California’s Ridgecrest area.\u003c/figcaption>\u003c/figure>\n\u003cp>In this one, the difference in color makes it easier to see that the earth’s surface moved in different directions along the fault. “We can see clearly the two sides of the fault moved in opposite directions,” he said. \u003c/p>\n\u003cp>The long line of green circles on the map running from the northwest to the southeast is the fault that ruptured during the larger earthquake on July 5. Fields says the fault rupture measures some 30 miles long. The line of green circles cutting into that fault almost at a right angle is the rupture from the smaller earthquake on July 4. \u003c/p>\n\u003cp>“The 6.4 did a fault that goes almost exactly perpendicular to the 7.1,” he said.\u003c/p>\n\u003cp>The blue area west of the largest fault moved by as much as 2.7 feet northwest during the biggest quake, while the red area moved by as much as 2 feet southeast, according to NASA. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rippling+Rainbow+Map+Shows+How+California+Earthquakes+Moved+The+Earth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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