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"content": "\u003cp>There isn’t much to look at around Treasure Island’s historic Administration Building -- just a parking lot and a snack shop. But the parking lot at one of the man-made island’s few legacy buildings is about to be transformed.\u003c/p>\n\u003cp>Developers and San Francisco officials plan to open a landscaped plaza there in early 2020, at the center of which will stand a major work of public art. The piece will be among the first of an estimated $50 million in art projects to be commissioned for Treasure and Yerba Buena islands over the next two decades.\u003c/p>\n\u003cp>The Treasure Island Development Authority (TIDA) votes tomorrow on a master plan to allocate that money. The plan includes temporary and permanent installations, artists’ residencies and a recurring \"treasure hunt\" in which guests will search for temporary works by local and international artists using a map.\u003c/p>\n\u003cp>The art is part of a multibillion-dollar development plan for Treasure Island that includes 8,000 units of housing, 300 acres of parks, a ferry terminal and one of the world's largest investments in public art.\u003c/p>\n\u003cp>The city of San Francisco has a mandate requiring all development projects of this nature to set aside 1 percent of their budgets for public art. The San Francisco Art Commission (SFAC), which is overseeing the implementation of the art on Treasure Island, approved the master plan in early June.\u003c/p>\n\u003cfigure id=\"attachment_11500430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11500430 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-800x375.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-160x75.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1020x478.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1920x899.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1180x553.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-960x450.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-240x112.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-375x176.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-520x244.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architectural rendering of the forthcoming new plaza in front of Treasure Island's Administration Building. \u003ccite>(Photo: Treasure Island Community Development/Andrea Cochran Landscape Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jill Manton, SFAC's director of Public Art Trust and Special Initiatives, says she hopes to commission work from artists working in a wide variety of media.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I envision a program that is diverse and dynamic, from traditional or monumental free-standing sculpture, to performance and light projections that might be created specifically for the island,\" Manton says.\u003c/p>\n\u003cp>First in line for funding are three permanent installations, one along the island’s western edge, another at the top of the hill on Yerba Buena Island, and a third in front of the Administration Building.\u003c/p>\n\u003cp>Each work will adorn a newly designed public park. The developers hope to build a permanent public art collection for the island.\u003c/p>\n\u003cp>“I want a known artist, and a monumental piece that will say, ‘This is of stature,’” says Chris Meany of Treasure Island Community Development, LLC (TICD), the joint venture of private developers undertaking construction on the island.\u003c/p>\n\u003cp>These first pieces will likely be sculptures, and SFAC expects to send out a call for artists in the coming weeks. San Francisco and Treasure Island residents will be invited to review and provide input on the final proposals in early 2018.\u003c/p>\n\u003cp>“Public art is not always the result of popular opinion,\" Manton says. \"But we want the public to have the right to be heard.\" A selection panel of art experts and TIDA will make the final decision.\u003c/p>\n\u003cp>Each project will have a budget between $1 million and $2 million, and Manton hopes to draw top artists from all over the world. She says future projects will specifically welcome local artists with studios on the island.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Update, 12:34 p.m. Thursday, June 15:\u003c/strong> On June 14th, the Treasure Island Development Authority and San Francisco Arts Commission unanimously approved the $50 million allocation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There isn’t much to look at around Treasure Island’s historic Administration Building -- just a parking lot and a snack shop. But the parking lot at one of the man-made island’s few legacy buildings is about to be transformed.\u003c/p>\n\u003cp>Developers and San Francisco officials plan to open a landscaped plaza there in early 2020, at the center of which will stand a major work of public art. The piece will be among the first of an estimated $50 million in art projects to be commissioned for Treasure and Yerba Buena islands over the next two decades.\u003c/p>\n\u003cp>The Treasure Island Development Authority (TIDA) votes tomorrow on a master plan to allocate that money. The plan includes temporary and permanent installations, artists’ residencies and a recurring \"treasure hunt\" in which guests will search for temporary works by local and international artists using a map.\u003c/p>\n\u003cp>The art is part of a multibillion-dollar development plan for Treasure Island that includes 8,000 units of housing, 300 acres of parks, a ferry terminal and one of the world's largest investments in public art.\u003c/p>\n\u003cp>The city of San Francisco has a mandate requiring all development projects of this nature to set aside 1 percent of their budgets for public art. The San Francisco Art Commission (SFAC), which is overseeing the implementation of the art on Treasure Island, approved the master plan in early June.\u003c/p>\n\u003cfigure id=\"attachment_11500430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11500430 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-800x375.jpg\" alt=\"\" width=\"800\" height=\"375\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-800x375.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-160x75.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1020x478.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1920x899.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-1180x553.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-960x450.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-240x112.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-375x176.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/35035828841_6ec55b572c_o-520x244.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architectural rendering of the forthcoming new plaza in front of Treasure Island's Administration Building. \u003ccite>(Photo: Treasure Island Community Development/Andrea Cochran Landscape Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jill Manton, SFAC's director of Public Art Trust and Special Initiatives, says she hopes to commission work from artists working in a wide variety of media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I envision a program that is diverse and dynamic, from traditional or monumental free-standing sculpture, to performance and light projections that might be created specifically for the island,\" Manton says.\u003c/p>\n\u003cp>First in line for funding are three permanent installations, one along the island’s western edge, another at the top of the hill on Yerba Buena Island, and a third in front of the Administration Building.\u003c/p>\n\u003cp>Each work will adorn a newly designed public park. The developers hope to build a permanent public art collection for the island.\u003c/p>\n\u003cp>“I want a known artist, and a monumental piece that will say, ‘This is of stature,’” says Chris Meany of Treasure Island Community Development, LLC (TICD), the joint venture of private developers undertaking construction on the island.\u003c/p>\n\u003cp>These first pieces will likely be sculptures, and SFAC expects to send out a call for artists in the coming weeks. San Francisco and Treasure Island residents will be invited to review and provide input on the final proposals in early 2018.\u003c/p>\n\u003cp>“Public art is not always the result of popular opinion,\" Manton says. \"But we want the public to have the right to be heard.\" A selection panel of art experts and TIDA will make the final decision.\u003c/p>\n\u003cp>Each project will have a budget between $1 million and $2 million, and Manton hopes to draw top artists from all over the world. She says future projects will specifically welcome local artists with studios on the island.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Update, 12:34 p.m. Thursday, June 15:\u003c/strong> On June 14th, the Treasure Island Development Authority and San Francisco Arts Commission unanimously approved the $50 million allocation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The state’s Arts Council has announced more than 1,000 grants statewide totaling $15 million. California’s plowing more money into the arts than ever before — but it’s not clear how long that will last.\u003c/p>\n\u003cp>The California Arts Council funds programs focused largely on veterans, former inmates and kids. The Council’s Director of Public Affairs Caitlin Fitzwater says this year’s record-setting budget will deliver new programs for pre-schools, as well as field trips, and after-school and summer programs.\u003c/p>\n\u003cp>“Young people, we know, want to come to school and stay in school in many cases, because they have arts programs,” Fitzwater said.\u003c/p>\n\u003cfigure id=\"attachment_13426433\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13426433\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg\" alt=\"The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council.\" width=\"600\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-520x738.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut.jpg 749w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council. \u003ccite>(Photo: Courtesy of Mexican Heritage Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamara Alvarado heads the \u003ca href=\"http://schoolofartsandculture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">School of Arts & Culture\u003c/a> at San Jose’s Mexican Heritage Plaza, “providing high quality arts education primarily through mariachi music and Mexican folkloric dance.” The School is getting two grants, worth roughly $170,000, for arts education and creative place-making in San Jose.\u003c/p>\n\u003cp>“These are pretty significant for us,” Alvarado said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Organizations can also ask for more money this fiscal year: the maximum grant request has gone from $12,000 to 18,000.\u003c/p>\n\u003cp>\u003cstrong>How long will the good times last?\u003c/strong>\u003c/p>\n\u003cp>Brad Erickson, of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>, explains the Council has been enjoying steady budget increases over the last four years after a long dry spell.\u003c/p>\n\u003cp>The \u003ca href=\"http://nasaa-arts.org/nasaa_research/per-capita-ranking-estimation-tool/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a> ranks states according to arts funding in four different ways, but in terms of total state agency spending, California ranks 40th out of 50 states in per-capita funding, after years of languishing near last place.\u003c/p>\n\u003cp>But Erickson warns much of the new spending comes in the form of huge one-time payments that constitute close to half of the council’s total budget. This year, that one-time allocation is $6.8 million out of $15 million.\u003c/p>\n\u003cp>“We still have a long way to go in terms of investing in the arts in the way that other states do,” Erickson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What happens to the budget next year? It’s anyone’s guess.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The state’s Arts Council has announced more than 1,000 grants statewide totaling $15 million. California’s plowing more money into the arts than ever before — but it’s not clear how long that will last.\u003c/p>\n\u003cp>The California Arts Council funds programs focused largely on veterans, former inmates and kids. The Council’s Director of Public Affairs Caitlin Fitzwater says this year’s record-setting budget will deliver new programs for pre-schools, as well as field trips, and after-school and summer programs.\u003c/p>\n\u003cp>“Young people, we know, want to come to school and stay in school in many cases, because they have arts programs,” Fitzwater said.\u003c/p>\n\u003cfigure id=\"attachment_13426433\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13426433\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg\" alt=\"The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council.\" width=\"600\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-240x341.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut-520x738.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RS25624_image1-qut.jpg 749w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The School of Arts & Culture at San Jose’s Mexican Heritage Plaza serves roughly 70,000 people a year, mostly children and their families. The organization has won two grants this year from the California Arts Council. \u003ccite>(Photo: Courtesy of Mexican Heritage Plaza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tamara Alvarado heads the \u003ca href=\"http://schoolofartsandculture.org/\" target=\"_blank\" rel=\"noopener noreferrer\">School of Arts & Culture\u003c/a> at San Jose’s Mexican Heritage Plaza, “providing high quality arts education primarily through mariachi music and Mexican folkloric dance.” The School is getting two grants, worth roughly $170,000, for arts education and creative place-making in San Jose.\u003c/p>\n\u003cp>“These are pretty significant for us,” Alvarado said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Organizations can also ask for more money this fiscal year: the maximum grant request has gone from $12,000 to 18,000.\u003c/p>\n\u003cp>\u003cstrong>How long will the good times last?\u003c/strong>\u003c/p>\n\u003cp>Brad Erickson, of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>, explains the Council has been enjoying steady budget increases over the last four years after a long dry spell.\u003c/p>\n\u003cp>The \u003ca href=\"http://nasaa-arts.org/nasaa_research/per-capita-ranking-estimation-tool/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a> ranks states according to arts funding in four different ways, but in terms of total state agency spending, California ranks 40th out of 50 states in per-capita funding, after years of languishing near last place.\u003c/p>\n\u003cp>But Erickson warns much of the new spending comes in the form of huge one-time payments that constitute close to half of the council’s total budget. This year, that one-time allocation is $6.8 million out of $15 million.\u003c/p>\n\u003cp>“We still have a long way to go in terms of investing in the arts in the way that other states do,” Erickson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What happens to the budget next year? It’s anyone’s guess.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A 41-foot-high art installation that the city of San Francisco planned to unveil as part of its new $6 billion \u003ca href=\"http://transbaycenter.org/project/transit-center\" target=\"_blank\" rel=\"noopener noreferrer\">Transbay Transit Center\u003c/a> has been canceled and its lead artist released from his contract.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) and Transbay Joint Powers Authority (TJPA) hired artist \u003ca href=\"http://transbaycenter.org/artists/tim-hawkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Tim Hawkinson\u003c/a> to create the installation using materials salvaged from the old Transbay Terminal. It was to be one of five major public art installations planned for the new center.\u003c/p>\n\u003cp>The art installation was originally budgeted at $1.67 million. But the TJPA and SFAC decided to cancel the project after they realized that the actual cost of completing the artwork would come in around $3.7 million. They also said the project would be overdue and it wouldn’t debut until after the transit center opened.\u003c/p>\n\u003cp>In a statement released Wednesday, the TJPA said the sculpture “has proven to be a particularly complex engineering task.” The statement cited “the nature of the materials, the sculpture’s size, and its location” as reasons for the cancellation.\u003c/p>\n\u003cp>In a statement sent to KQED, SFAC spokeswoman Kate Patterson cited many of the same reasons. Patterson also said she hopes SFAC will get to work with the artist again. “Tim Hawkinson is a brilliant artist,” Patterson said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The TJPA said it has spent $840,000 of the original budget on salvaging and moving materials for the project and paying Hawkinson his full $200,000 artist fee. The TJPA expects to save $830,000 of the original budget and hasn’t said what it plans to do with the remaining money or if it will hire another artist and install a new sculpture.\u003c/p>\n\u003cp>Hawkinson couldn’t be reached for comment. But Dianne Dec, Hawkinson’s gallerist, defended the artist. “There have just been extensive delays in the whole construction project,” she said. “But it wasn’t an issue that the artist hadn’t delivered on his promise.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of San Francisco’s biggest projects to date, the transit center is designed to be a five-story hub that will connect passengers with Caltrain, BART, Muni and Amtrak, among other services. It is also expected to house retail shops and include a 5.4-acre park on its roof.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A 41-foot-high art installation that the city of San Francisco planned to unveil as part of its new $6 billion \u003ca href=\"http://transbaycenter.org/project/transit-center\" target=\"_blank\" rel=\"noopener noreferrer\">Transbay Transit Center\u003c/a> has been canceled and its lead artist released from his contract.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> (SFAC) and Transbay Joint Powers Authority (TJPA) hired artist \u003ca href=\"http://transbaycenter.org/artists/tim-hawkinson\" target=\"_blank\" rel=\"noopener noreferrer\">Tim Hawkinson\u003c/a> to create the installation using materials salvaged from the old Transbay Terminal. It was to be one of five major public art installations planned for the new center.\u003c/p>\n\u003cp>The art installation was originally budgeted at $1.67 million. But the TJPA and SFAC decided to cancel the project after they realized that the actual cost of completing the artwork would come in around $3.7 million. They also said the project would be overdue and it wouldn’t debut until after the transit center opened.\u003c/p>\n\u003cp>In a statement released Wednesday, the TJPA said the sculpture “has proven to be a particularly complex engineering task.” The statement cited “the nature of the materials, the sculpture’s size, and its location” as reasons for the cancellation.\u003c/p>\n\u003cp>In a statement sent to KQED, SFAC spokeswoman Kate Patterson cited many of the same reasons. Patterson also said she hopes SFAC will get to work with the artist again. “Tim Hawkinson is a brilliant artist,” Patterson said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The TJPA said it has spent $840,000 of the original budget on salvaging and moving materials for the project and paying Hawkinson his full $200,000 artist fee. The TJPA expects to save $830,000 of the original budget and hasn’t said what it plans to do with the remaining money or if it will hire another artist and install a new sculpture.\u003c/p>\n\u003cp>Hawkinson couldn’t be reached for comment. But Dianne Dec, Hawkinson’s gallerist, defended the artist. “There have just been extensive delays in the whole construction project,” she said. “But it wasn’t an issue that the artist hadn’t delivered on his promise.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of San Francisco’s biggest projects to date, the transit center is designed to be a five-story hub that will connect passengers with Caltrain, BART, Muni and Amtrak, among other services. It is also expected to house retail shops and include a 5.4-acre park on its roof.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Horrific Ghost Ship Fire Tests Oakland Firefighters' Culture of Not Seeking Help",
"title": "Horrific Ghost Ship Fire Tests Oakland Firefighters' Culture of Not Seeking Help",
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"content": "\u003cp>The day was dawning clear and sunny as Dan Robertson picked his way through the remnants of the inferno. The veteran firefighter was with a few of the other guys, making a final sweep to check that all the flames were out, when morbid curiosity got the better of them. He was cold and wet from water and sweat, and his knees told him it was time to go home. But he wondered, what does a warehouse look like, all burnt up from the inside out?\u003c/p>\n\u003cp>They walked over charcoal debris; some stuff they could recognize, like rugs and alarm clocks. Other stuff had melted into dark indecipherable shapes. The winter air smelled like that moment when you pour water on a big log-filled campfire, but with scents of burning plastic and chemicals mixed in.\u003c/p>\n\u003cp>What Robertson noticed most were the pianos. There were singed pianos everywhere, at least four or five in the front, near the doorway. He remembered being inside six hours earlier, at the height of the blaze, a piano blocking his path as he tried to carry a hose through the crackling flames.\u003c/p>\n\u003cp>[contextly_sidebar id=\"FWeW0K2AmQ9JTRMadzqx4CF7Jv6E82U1\"]By the time they had finished exploring the Ghost Ship warehouse that morning of Dec. 3, 2016, nine people had been confirmed dead; 27 more victims would be found by the end of that week in the building, which had been converted into an artists collective.\u003c/p>\n\u003cp>It wasn’t until Robertson was back at the firehouse, showering and changing into fresh clothes, that his experiences that night finally caught up to him. He drove his Toyota Tundra home and found his wife, Cheri, awake. She had just heard about the fire, and asked whether he was OK. He tried to speak, but nothing came out. He just started sobbing.\u003c/p>\n\u003caside class=\"pullquote alignright\">Many Oakland firefighters told STAT they are still struggling with the emotional fallout from that night six months ago.\u003c/aside>\n\u003cp>Many Oakland firefighters told STAT they are still struggling with the emotional fallout from that night six months ago. But few have sought mental health treatment, because of stigma within the department, combined with a limit on free counseling sessions provided by the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now the Ghost Ship fire has become a catalyst for change in the Oakland Fire Department, where Robertson, a 54-year-old lieutenant and the president of the Oakland firefighters union, and other firefighters are pushing to create a peer counseling program. Firefighters in general are at high risk of developing post-traumatic stress disorder, which can lead to anxiety, substance abuse and even suicide, and that has spurred firefighters in numerous cities to demand that their mental health be treated as urgently as any other injury sustained on the job.\u003c/p>\n\u003cp>Oakland fire officials insist that existing mental health services are sufficient but underused. Deputy Chief Mark Hoffmann pointed to the city’s “incredibly robust workers comp system,” and noted that firefighters who were at the Ghost Ship fire have been offered extra employee assistance program sessions, though few have claimed them.\u003c/p>\n\u003cp>Robertson disagrees. The fact that few firefighters use the current services, he said, is proof that they aren’t working. “Is it underutilized because it’s not needed, or is it underutilized because people have no faith in it?” Robertson asked.\u003c/p>\n\u003cfigure id=\"attachment_403984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-403984\" src=\"https://ww2.kqed.org/futureofyou/wp-content/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Firefighters clear debris from the entrance to the Ghost Ship warehouse in Oakland, where a fire killed 36 people on Dec. 2, 2016. \u003ccite>((Elijah Nouvelage/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘That Was Going to Sit With Me’\u003c/strong>\u003c/p>\n\u003cp>After the fire came the search for bodies. Eight men and women who participated in the recovery efforts said it was the most difficult aspect of the whole week. One fire captain, who has been with the department for more than 20 years, said thinking about it still makes him feel like he is teetering on the edge of a breakdown. He could see 10 bodies in the ash and rubble when he arrived, and he knew from the way the building collapsed that there would be more.\u003c/p>\n\u003cp>The victims died of smoke inhalation, not fire, so all their features were recognizable. The firefighters could see every detail: The cellphones in their pockets flooded with missed calls. Their tattoos. Their eyelashes. “There was no question,” said another firefighter, “that was going to sit with me for a while.”\u003c/p>\n\u003cp>All of them spoke about that day on condition of anonymity because they weren’t authorized to speak to the news media.\u003c/p>\n\u003cp>The firefighters were quick to emphasize that the Ghost Ship fire was just one in a long series of traumatic events over the course of their careers. In a big city like Oakland, they respond to everything from stubbed toes to heart attacks, from shootings to wildfires to structure fires. When asked to think back on a call that stuck with them, all the firefighters were able to conjure up several memories in perfect detail.\u003c/p>\n\u003cp>There was the firefighter-paramedic who still remembers the faces of two teenage girls shot in the head execution-style on a street. Another firefighter, in the department for less than five years, described a day when they drove an alcoholic to the hospital to get detoxed; as the man left the hospital that evening to go home, he was shot in a botched robbery, and the same team was called back to the scene to pronounce him dead.\u003c/p>\n\u003cp>Firefighters have a metaphor for their emotional baggage: the backpack. After every traumatic event, more junk is thrown into their symbolic backpacks for them to carry around each day. Eventually it will get too heavy; it will drag them down. “My backpack’s full,” said a firefighter still in his 18-month probation period. “It’s super full.”\u003c/p>\n\u003cp>PTSD and other post-trauma mental health issues can be tricky to identify in first responders, said psychologist Mark Kemena, a lead clinician for the West Coast Post-trauma Retreat, because it often builds up over time. It is like having a car alarm that is triggered when even the slightest wind passes by, said Michael Palmertree, a psychologist who has worked extensively with the Oakland Police Department.\u003c/p>\n\u003cp>There have been many studies about rates of PTSD in veterans and police, but reliable statistics for mental trauma in firefighters are hard to find. Suzy Gulliver, director of the Warriors Research Institute, is one of the few clinicians who has done studies on firefighter mental health. Over the course of a lifetime, she said, 20 to 22 percent of firefighters in the United States will experience PTSD — the same rate as returning combat veterans.\u003c/p>\n\u003cp>The consequences can be tragic. According to estimates from the National Fallen Firefighters Foundation, firefighters are three times more likely to die of suicide than in the line of duty. And many PTSD sufferers self-medicate with drugs or alcohol. Robertson said excessive drinking and substance use, including marijuana, have always been common in the fire department, particularly in young members. He himself had to go to drug rehab early in his career.\u003c/p>\n\u003caside class=\"pullquote alignright\">'When you do this for a little while, you’re scarred mentally for sure'\u003ccite>Chris Foley, Veteran fire captain\u003c/cite>\u003c/aside>\n\u003cp>“When you do this for a little while,” said Chris Foley, a veteran fire captain helping Robertson start the peer counseling program, “you’re scarred mentally for sure.”\u003c/p>\n\u003cp>\u003cstrong>Firefighters Wary of \u003c/strong>\u003cstrong>Treatment\u003c/strong>\u003c/p>\n\u003cp>Firefighters like to say that the fire service is 150 years of tradition, unimpeded by progress. When Robertson was a new recruit in the early 1990s, mental health wasn’t talked about in the firehouse. Back then, veterans from World War II, Korea, and Vietnam were on the crew, men who had already experienced their fair share of trauma.\u003c/p>\n\u003cp>“You can’t handle it?” Robertson recalled them saying if they saw a new crew member getting emotional after a run. “Then you need to go somewhere else.”\u003c/p>\n\u003cp>The culture has started changing, Robertson said, but many firefighters still won’t admit that a call affected them, fearing it would be seen as weakness and make their coworkers trust them a little less. In a recent survey conducted by the NBC Bay Area investigative news team, almost 50 percent of the 700 firefighters that responded said that concerns about colleagues not trusting their judgment contributed to the stigma of seeking mental health treatment.\u003c/p>\n\u003cp>Only one of the eight firefighters STAT interviewed who were at the scene that night has sought regular mental health treatment. For the few who do try to seek help, options are limited and, they say, often confusing.\u003c/p>\n\u003cp>Firefighters in Oakland are offered the same counseling program that every Oakland city employee gets: three free therapy sessions every six months through their employee assistance program (EAP). Tom Farris, president of Claremont EAP, which runs the city’s program, said it is designed to be a bridge to longer-term care, though firefighters have to pay for additional sessions through insurance copayments or out of pocket.\u003c/p>\n\u003cp>Complex mental health problems like PTSD are “absolutely not” resolved within three sessions, said Farris, who is a licensed psychologist. But “that’s not really what EAPs are scoped out to handle,” he said. Farris noted that in many cities, first responders are offered six to 10 EAP sessions, not three. More benefits for public safety employees “is a good idea,” he said.\u003c/p>\n\u003cp>Another resource in the fire department is a Critical Incident Stress Management team that is dispatched to fire stations after big events such as the Ghost Ship fire. The team members can vary from priests to other firefighters to experienced psychologists to brand-new therapists trying to boost their resume, and firefighters are required to sit together and debrief the incident.\u003c/p>\n\u003cp>Reactions to CISM are mixed. While psychologists say it can be very helpful, some firefighters say the team members often can’t relate to their experiences. Robertson said many of the CISM therapists wouldn’t be able to hold their own in a burning building. “Why the hell would I open up to you?” he said.\u003c/p>\n\u003cp>Hoffmann, the deputy chief who has been in the fire department 37 years, acknowledged that CISM has been “poorly applied at times” and said team members hadn’t received training “in about two years,” but he believes that it is an effective behavioral health tool.\u003c/p>\n\u003cp>Unsatisfied with the current treatment options, Robertson, along with Foley, has made it his mission in his last two years before retirement to launch a peer counseling program. They want to follow in the steps of other departments, including Phoenix and New York City, that have been using this model for years. Several other Bay Area cities have these programs, including neighboring Berkeley.\u003c/p>\n\u003cp>The International Association of Fire Fighters (IAFF) started offering peer counseling training courses last year and so far has offered 24 courses across North America. Elaine Viccora, a behavioral specialist at IAFF, said it plans to offer three to four trainings each month.\u003c/p>\n\u003cp>Robertson hopes to model the Oakland peer counseling program after the one in Phoenix. Brian French, a Phoenix firefighter, helped develop it in 2010 after four members of the department committed suicide within seven months.\u003c/p>\n\u003cp>Their model, French said, is “listen, refer, support.” Peer counselors are trained to reach out to individual station members after a critical incident and encourage them to get professional counseling if they think it is needed. French also oversees the day-to-day operations of a website called Firestrong, an online portal where fire departments around the country can list area-specific mental health resources for their members.\u003c/p>\n\u003cp>Robertson faces two main barriers as he tries to get the peer-counseling program off the ground: persuading the firefighters to admit when they need help, and convincing Hoffmann and other city administrators to pay for it.\u003c/p>\n\u003cp>It costs more than $250 for one firefighter to be trained as a peer counselor through the IAFF program, and membership to the Firestrong website is an additional $1,500 per year. So far, the union has paid for the training, and Robertson plans to push for city money in union negotiations this August.\u003c/p>\n\u003cp>But Hoffmann said he is worried that the peer counseling program won’t be inclusive and that the people chosen as counselors could just be winners of a popularity contest within the union. “The way they’re describing doing their program,” Hoffman said, “I can’t spend city money on that.”\u003c/p>\n\u003cp>\u003cstrong>‘Just Doing Our Job’\u003c/strong>\u003c/p>\n\u003cp>In early April, Robertson attended an IAFF conference in Phoenix and was surprised to receive a plaque commending the Oakland firefighters on their actions the night of the Ghost Ship fire. The honor made him distinctly uncomfortable. It was weird, he said, to get a plaque “for us just doing our job.” Especially, he added, on a night when 36 people lost their lives.\u003c/p>\n\u003cp>Robertson frowns at any mention of leaving a legacy in the department. That’s not why he’s creating the peer counseling program, he said, though it’s hard for him to come up with the words to describe why firefighter PTSD is such an important issue for him personally.\u003c/p>\n\u003cp>“It’s probably because I’m all fucked up myself by it,” he said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was \u003ca href=\"https://www.statnews.com/2017/06/02/ghost-ship-firefighters/\" target=\"_blank\" rel=\"noopener noreferrer\">originally published by STAT\u003c/a>, an online publication of Boston Globe Media that covers health, medicine, and scientific discovery.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The day was dawning clear and sunny as Dan Robertson picked his way through the remnants of the inferno. The veteran firefighter was with a few of the other guys, making a final sweep to check that all the flames were out, when morbid curiosity got the better of them. He was cold and wet from water and sweat, and his knees told him it was time to go home. But he wondered, what does a warehouse look like, all burnt up from the inside out?\u003c/p>\n\u003cp>They walked over charcoal debris; some stuff they could recognize, like rugs and alarm clocks. Other stuff had melted into dark indecipherable shapes. The winter air smelled like that moment when you pour water on a big log-filled campfire, but with scents of burning plastic and chemicals mixed in.\u003c/p>\n\u003cp>What Robertson noticed most were the pianos. There were singed pianos everywhere, at least four or five in the front, near the doorway. He remembered being inside six hours earlier, at the height of the blaze, a piano blocking his path as he tried to carry a hose through the crackling flames.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>By the time they had finished exploring the Ghost Ship warehouse that morning of Dec. 3, 2016, nine people had been confirmed dead; 27 more victims would be found by the end of that week in the building, which had been converted into an artists collective.\u003c/p>\n\u003cp>It wasn’t until Robertson was back at the firehouse, showering and changing into fresh clothes, that his experiences that night finally caught up to him. He drove his Toyota Tundra home and found his wife, Cheri, awake. She had just heard about the fire, and asked whether he was OK. He tried to speak, but nothing came out. He just started sobbing.\u003c/p>\n\u003caside class=\"pullquote alignright\">Many Oakland firefighters told STAT they are still struggling with the emotional fallout from that night six months ago.\u003c/aside>\n\u003cp>Many Oakland firefighters told STAT they are still struggling with the emotional fallout from that night six months ago. But few have sought mental health treatment, because of stigma within the department, combined with a limit on free counseling sessions provided by the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now the Ghost Ship fire has become a catalyst for change in the Oakland Fire Department, where Robertson, a 54-year-old lieutenant and the president of the Oakland firefighters union, and other firefighters are pushing to create a peer counseling program. Firefighters in general are at high risk of developing post-traumatic stress disorder, which can lead to anxiety, substance abuse and even suicide, and that has spurred firefighters in numerous cities to demand that their mental health be treated as urgently as any other injury sustained on the job.\u003c/p>\n\u003cp>Oakland fire officials insist that existing mental health services are sufficient but underused. Deputy Chief Mark Hoffmann pointed to the city’s “incredibly robust workers comp system,” and noted that firefighters who were at the Ghost Ship fire have been offered extra employee assistance program sessions, though few have claimed them.\u003c/p>\n\u003cp>Robertson disagrees. The fact that few firefighters use the current services, he said, is proof that they aren’t working. “Is it underutilized because it’s not needed, or is it underutilized because people have no faith in it?” Robertson asked.\u003c/p>\n\u003cfigure id=\"attachment_403984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-403984\" src=\"https://ww2.kqed.org/futureofyou/wp-content/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/13/2017/06/RS23048_GettyImages-627450192-qut-800x534-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Firefighters clear debris from the entrance to the Ghost Ship warehouse in Oakland, where a fire killed 36 people on Dec. 2, 2016. \u003ccite>((Elijah Nouvelage/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘That Was Going to Sit With Me’\u003c/strong>\u003c/p>\n\u003cp>After the fire came the search for bodies. Eight men and women who participated in the recovery efforts said it was the most difficult aspect of the whole week. One fire captain, who has been with the department for more than 20 years, said thinking about it still makes him feel like he is teetering on the edge of a breakdown. He could see 10 bodies in the ash and rubble when he arrived, and he knew from the way the building collapsed that there would be more.\u003c/p>\n\u003cp>The victims died of smoke inhalation, not fire, so all their features were recognizable. The firefighters could see every detail: The cellphones in their pockets flooded with missed calls. Their tattoos. Their eyelashes. “There was no question,” said another firefighter, “that was going to sit with me for a while.”\u003c/p>\n\u003cp>All of them spoke about that day on condition of anonymity because they weren’t authorized to speak to the news media.\u003c/p>\n\u003cp>The firefighters were quick to emphasize that the Ghost Ship fire was just one in a long series of traumatic events over the course of their careers. In a big city like Oakland, they respond to everything from stubbed toes to heart attacks, from shootings to wildfires to structure fires. When asked to think back on a call that stuck with them, all the firefighters were able to conjure up several memories in perfect detail.\u003c/p>\n\u003cp>There was the firefighter-paramedic who still remembers the faces of two teenage girls shot in the head execution-style on a street. Another firefighter, in the department for less than five years, described a day when they drove an alcoholic to the hospital to get detoxed; as the man left the hospital that evening to go home, he was shot in a botched robbery, and the same team was called back to the scene to pronounce him dead.\u003c/p>\n\u003cp>Firefighters have a metaphor for their emotional baggage: the backpack. After every traumatic event, more junk is thrown into their symbolic backpacks for them to carry around each day. Eventually it will get too heavy; it will drag them down. “My backpack’s full,” said a firefighter still in his 18-month probation period. “It’s super full.”\u003c/p>\n\u003cp>PTSD and other post-trauma mental health issues can be tricky to identify in first responders, said psychologist Mark Kemena, a lead clinician for the West Coast Post-trauma Retreat, because it often builds up over time. It is like having a car alarm that is triggered when even the slightest wind passes by, said Michael Palmertree, a psychologist who has worked extensively with the Oakland Police Department.\u003c/p>\n\u003cp>There have been many studies about rates of PTSD in veterans and police, but reliable statistics for mental trauma in firefighters are hard to find. Suzy Gulliver, director of the Warriors Research Institute, is one of the few clinicians who has done studies on firefighter mental health. Over the course of a lifetime, she said, 20 to 22 percent of firefighters in the United States will experience PTSD — the same rate as returning combat veterans.\u003c/p>\n\u003cp>The consequences can be tragic. According to estimates from the National Fallen Firefighters Foundation, firefighters are three times more likely to die of suicide than in the line of duty. And many PTSD sufferers self-medicate with drugs or alcohol. Robertson said excessive drinking and substance use, including marijuana, have always been common in the fire department, particularly in young members. He himself had to go to drug rehab early in his career.\u003c/p>\n\u003caside class=\"pullquote alignright\">'When you do this for a little while, you’re scarred mentally for sure'\u003ccite>Chris Foley, Veteran fire captain\u003c/cite>\u003c/aside>\n\u003cp>“When you do this for a little while,” said Chris Foley, a veteran fire captain helping Robertson start the peer counseling program, “you’re scarred mentally for sure.”\u003c/p>\n\u003cp>\u003cstrong>Firefighters Wary of \u003c/strong>\u003cstrong>Treatment\u003c/strong>\u003c/p>\n\u003cp>Firefighters like to say that the fire service is 150 years of tradition, unimpeded by progress. When Robertson was a new recruit in the early 1990s, mental health wasn’t talked about in the firehouse. Back then, veterans from World War II, Korea, and Vietnam were on the crew, men who had already experienced their fair share of trauma.\u003c/p>\n\u003cp>“You can’t handle it?” Robertson recalled them saying if they saw a new crew member getting emotional after a run. “Then you need to go somewhere else.”\u003c/p>\n\u003cp>The culture has started changing, Robertson said, but many firefighters still won’t admit that a call affected them, fearing it would be seen as weakness and make their coworkers trust them a little less. In a recent survey conducted by the NBC Bay Area investigative news team, almost 50 percent of the 700 firefighters that responded said that concerns about colleagues not trusting their judgment contributed to the stigma of seeking mental health treatment.\u003c/p>\n\u003cp>Only one of the eight firefighters STAT interviewed who were at the scene that night has sought regular mental health treatment. For the few who do try to seek help, options are limited and, they say, often confusing.\u003c/p>\n\u003cp>Firefighters in Oakland are offered the same counseling program that every Oakland city employee gets: three free therapy sessions every six months through their employee assistance program (EAP). Tom Farris, president of Claremont EAP, which runs the city’s program, said it is designed to be a bridge to longer-term care, though firefighters have to pay for additional sessions through insurance copayments or out of pocket.\u003c/p>\n\u003cp>Complex mental health problems like PTSD are “absolutely not” resolved within three sessions, said Farris, who is a licensed psychologist. But “that’s not really what EAPs are scoped out to handle,” he said. Farris noted that in many cities, first responders are offered six to 10 EAP sessions, not three. More benefits for public safety employees “is a good idea,” he said.\u003c/p>\n\u003cp>Another resource in the fire department is a Critical Incident Stress Management team that is dispatched to fire stations after big events such as the Ghost Ship fire. The team members can vary from priests to other firefighters to experienced psychologists to brand-new therapists trying to boost their resume, and firefighters are required to sit together and debrief the incident.\u003c/p>\n\u003cp>Reactions to CISM are mixed. While psychologists say it can be very helpful, some firefighters say the team members often can’t relate to their experiences. Robertson said many of the CISM therapists wouldn’t be able to hold their own in a burning building. “Why the hell would I open up to you?” he said.\u003c/p>\n\u003cp>Hoffmann, the deputy chief who has been in the fire department 37 years, acknowledged that CISM has been “poorly applied at times” and said team members hadn’t received training “in about two years,” but he believes that it is an effective behavioral health tool.\u003c/p>\n\u003cp>Unsatisfied with the current treatment options, Robertson, along with Foley, has made it his mission in his last two years before retirement to launch a peer counseling program. They want to follow in the steps of other departments, including Phoenix and New York City, that have been using this model for years. Several other Bay Area cities have these programs, including neighboring Berkeley.\u003c/p>\n\u003cp>The International Association of Fire Fighters (IAFF) started offering peer counseling training courses last year and so far has offered 24 courses across North America. Elaine Viccora, a behavioral specialist at IAFF, said it plans to offer three to four trainings each month.\u003c/p>\n\u003cp>Robertson hopes to model the Oakland peer counseling program after the one in Phoenix. Brian French, a Phoenix firefighter, helped develop it in 2010 after four members of the department committed suicide within seven months.\u003c/p>\n\u003cp>Their model, French said, is “listen, refer, support.” Peer counselors are trained to reach out to individual station members after a critical incident and encourage them to get professional counseling if they think it is needed. French also oversees the day-to-day operations of a website called Firestrong, an online portal where fire departments around the country can list area-specific mental health resources for their members.\u003c/p>\n\u003cp>Robertson faces two main barriers as he tries to get the peer-counseling program off the ground: persuading the firefighters to admit when they need help, and convincing Hoffmann and other city administrators to pay for it.\u003c/p>\n\u003cp>It costs more than $250 for one firefighter to be trained as a peer counselor through the IAFF program, and membership to the Firestrong website is an additional $1,500 per year. So far, the union has paid for the training, and Robertson plans to push for city money in union negotiations this August.\u003c/p>\n\u003cp>But Hoffmann said he is worried that the peer counseling program won’t be inclusive and that the people chosen as counselors could just be winners of a popularity contest within the union. “The way they’re describing doing their program,” Hoffman said, “I can’t spend city money on that.”\u003c/p>\n\u003cp>\u003cstrong>‘Just Doing Our Job’\u003c/strong>\u003c/p>\n\u003cp>In early April, Robertson attended an IAFF conference in Phoenix and was surprised to receive a plaque commending the Oakland firefighters on their actions the night of the Ghost Ship fire. The honor made him distinctly uncomfortable. It was weird, he said, to get a plaque “for us just doing our job.” Especially, he added, on a night when 36 people lost their lives.\u003c/p>\n\u003cp>Robertson frowns at any mention of leaving a legacy in the department. That’s not why he’s creating the peer counseling program, he said, though it’s hard for him to come up with the words to describe why firefighter PTSD is such an important issue for him personally.\u003c/p>\n\u003cp>“It’s probably because I’m all fucked up myself by it,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was \u003ca href=\"https://www.statnews.com/2017/06/02/ghost-ship-firefighters/\" target=\"_blank\" rel=\"noopener noreferrer\">originally published by STAT\u003c/a>, an online publication of Boston Globe Media that covers health, medicine, and scientific discovery.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Alameda County prosecutors \u003ca href=\"https://ww2.kqed.org/news/2017/06/05/criminal-charges-announced-oakland-ghost-ship-fire/\">charged two men with 36 counts of involuntary manslaughter\u003c/a> in the tragic Ghost Ship warehouse fire in Oakland, saying the defendants \"knowingly created a firetrap.\" District Attorney Nancy O’Malley said the fire's 36 victims “faced a nearly impossible labyrinth of the defendants’ making.” Reports suggest that substandard, faulty electrical work was likely to blame for the fire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"disqusTitle": "Two Charged With Manslaughter in Oakland's Ghost Ship Fire",
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"content": "\u003cp>\u003cem>Updated 4 p.m.\u003c/em>\u003c/p>\n\u003cp>Six months after the catastrophic fire that killed 36 people in East Oakland's Ghost Ship warehouse, Alameda County prosecutors are filing homicide charges in the case.\u003c/p>\n\u003cp>District Attorney Nancy O'Malley announced Monday her office is filing manslaughter charges against Derick Ion Almena, the Ghost Ship's master tenant, and Max Harris, one of those who rented space in the warehouse.\u003c/p>\n\u003cp>Each man faces 36 counts of involuntary manslaughter, and each could face 39 years in prison, O'Malley said.\u003c/p>\n\u003cp>\"Defendants Almena and Harris knowingly created a firetrap, with inadequate means of escape,\" O'Malley said. \"They then filled that area with human beings and are now facing the consequences of their actions.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She said those who died in the Dec. 2, 2016, fire \"faced a nearly impossible labyrinth of the defendants' making\" that prevented their escape.\u003c/p>\n\u003cp>Almena was arrested Monday in Lake County. Harris, who had described himself as \"second in command\" to Almena in managing the Ghost Ship, was arrested in Los Angeles.\u003c/p>\n\u003cp>[contextly_sidebar id=\"9LgoJQPqnbKXUT3UZDNmyoBxIbFxMW6i\"]\u003c/p>\n\u003cp>Almena's lawyers, including noted defense attorney Tony Serra, said in a brief written statement that the charges \"represent no less than a miscarriage of justice, and we are confident that this attempt to make a scapegoat out of our client will fail.\"\u003c/p>\n\u003cp>Deputy District Attorney Teresa Drenick said investigators had looked into the role of others in the events leading to the fire. She declined to say how many individuals had been investigated, and she declined to discuss whether further charges might be brought in the case. She said the office's inquiry into the blaze has ended.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.documentcloud.org/documents/3767126-Alameda-County-District-Attorney-Probable-Cause.html\" target=\"_blank\" rel=\"noopener noreferrer\">a three-page declaration\u003c/a> filed in support of the charges against Almena and Harris, prosecutors outlined a history of what they describe as illegal and dangerous behavior.\u003c/p>\n\u003cp>In addition to the illegal conversion of the warehouse to a group residence, the declaration says, Almena \"substantially increased the risk to those living, working or visiting the building by storing enormous amounts of flammable material inside the warehouse. Witnesses describe wood and other flammable objects being stored from floor to ceiling on the first level. Storing that amount of flammable material in the manner described by witnesses and shown in photographs, created an extremely dangerous fire load and was a violation of the Oakland Municipal code and the California Fire Safety code.\"\u003c/p>\n\u003cp>The document describes Harris' role as \"creative director\" of the Ghost Ship facility, responsible for collecting monthly rent from the warehouse's approximately 25 residents, acting as go-between with the building's landlord and arranging entertainment events at the venue.\u003c/p>\n\u003cp>The night of the fire, the declaration alleges, Harris helped prepare for an electronic music performance on the building's second floor. The main access to the area was a jury-rigged staircase made of wooden pallets.\u003c/p>\n\u003cp>\"In the course of his preparation,\" the document says, \"Harris blocked off an area of the second floor that included a second stairwell, which effectively reduced the upstairs guests to a single point of escape. Because of the fire, the power to the building went out and the guests that could escape, were forced down the narrow makeshift stairs in complete darkness.\"\u003c/p>\n\u003cp>O'Malley said that under California's homicide statutes, prosecutors \"must be satisfied that any defendant acted with gross or reckless conduct akin to a disregard for human life, and that the deadly consequences of those actions were reasonably foreseeable.\"\u003c/p>\n\u003cp>Monday's charges and arrests come after a long series of reports that detailed dangerous living conditions in the 31st Avenue warehouse, which had been converted illegally into a residence. Those conditions -- also enumerated as allegations in lawsuits filed against Almena, the building's owners and others -- included \u003ca href=\"http://www.mercurynews.com/2017/03/24/exclusive-ghost-ship-owners-knew-of-dangerous-electrical-system-before-deadly-fire/\" target=\"_blank\" rel=\"noopener noreferrer\">substandard, unlicensed electrical work\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11495706\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/ghostship1604.jpg\">\u003cimg class=\"size-medium wp-image-11495706\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/ghostship1604-800x1047.jpg\" alt=\"\" width=\"800\" height=\"1047\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-800x1047.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-160x209.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-1020x1335.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-1180x1544.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-960x1256.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-240x314.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-375x491.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-520x680.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604.jpg 1242w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view down improvised stairway at the Ghost Ship warehouse, which burned in December 2016. The photo, taken in April 2016, shows a guest entering the space at upper right. The stairway was the only exit for guests in the East Oakland warehouse after fire broke out during a dance party. \u003ccite>(David Marks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Investigators still have not made an official ruling on exactly what sparked the fire, but reports in the days after the blaze suggested that an electrical fault was likely to blame.\u003c/p>\n\u003cp>The fire broke out just before 11:30 p.m. on Dec. 2 during a Friday night dance party at the warehouse. About 100 people were attending the event in a space that had never been inspected by the city or granted permits for public events. Perhaps two dozen Ghost Ship residents were also at home. Almena, his partner and their two children were staying in a hotel in downtown Oakland.\u003c/p>\n\u003cp>The blaze sent partygoers and residents scrambling to escape.\u003c/p>\n\u003cp>Those who fled, and the firefighters who attempted to enter the burning structure, described encountering a maze consisting of old pianos and furniture that, combined with heavy smoke, made it difficult to get out of or into the building.\u003c/p>\n\u003cp>The jury-rigged stairway made of wooden pallets burned, cutting off the escape route for dozens of people on the building's second floor.\u003c/p>\n\u003cp>Thirty-five concertgoers and one resident died.\u003c/p>\n\u003cp>The tragedy exposed a series of apparent failures or lack of follow-through in Oakland's fire and building inspections.\u003c/p>\n\u003cp>Although the Oakland Fire Department had said it conducted yearly inspections of the city's commercial and large residential buildings, it had no records of ever inspecting the Ghost Ship building.\u003c/p>\n\u003cp>The building and an adjacent property -- a debris- and vehicle-filled vacant lot also owned by landlord Chor Ng -- had been the subject of repeated blight complaints. The city's Planning and Building Department received at least two reports that suggested the structure had been converted, illegally, into a residence.\u003c/p>\n\u003cp>In one case, a city inspector said an unpermitted structure had been removed from the building. The city says that a second complaint, received three weeks before the fire, focused on the adjacent junk-strewn lot, not the warehouse itself.\u003c/p>\n\u003cp>Warehouse neighbors \u003ca href=\"https://ww2.kqed.org/news/2016/12/07/ghost-ship-neighbor-calls-to-police-brought-no-action-against-warehouse/\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> calling Oakland police repeatedly about noise and other issues at the warehouse -- including the possibility people were living there illegally.\u003c/p>\n\u003cp>The city later \u003ca href=\"https://ww2.kqed.org/news/2017/02/08/oakland-records-give-new-glimpses-into-history-preceding-ghost-ship-fire/\" target=\"_blank\" rel=\"noopener noreferrer\">released records\u003c/a> that showed 19 separate calls to respond to the warehouse.\u003c/p>\n\u003cp>Among those calls was a March 2015 incident in which officers responded to a 2 a.m. call that a rave, complete with illegal alcohol sales, was occurring in the building and that 15 people inside were not being allowed to leave. One of the responding officers confirmed the situation and notified an unidentified person at the Ghost Ship that the event was in violation of city ordinances, but decided not to issue a citation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This post will be updated. \u003c/em>\u003c/p>\n\n",
"disqusIdentifier": "11495325 https://ww2.kqed.org/news/?p=11495325",
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"excerpt": "Police arrest warehouse master tenant and one other resident in December blaze that killed 36 partygoers.",
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"description": "Police arrest warehouse master tenant and one other resident in December blaze that killed 36 partygoers.",
"title": "Two Charged With Manslaughter in Oakland's Ghost Ship Fire | KQED",
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"headline": "Two Charged With Manslaughter in Oakland's Ghost Ship Fire",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated 4 p.m.\u003c/em>\u003c/p>\n\u003cp>Six months after the catastrophic fire that killed 36 people in East Oakland's Ghost Ship warehouse, Alameda County prosecutors are filing homicide charges in the case.\u003c/p>\n\u003cp>District Attorney Nancy O'Malley announced Monday her office is filing manslaughter charges against Derick Ion Almena, the Ghost Ship's master tenant, and Max Harris, one of those who rented space in the warehouse.\u003c/p>\n\u003cp>Each man faces 36 counts of involuntary manslaughter, and each could face 39 years in prison, O'Malley said.\u003c/p>\n\u003cp>\"Defendants Almena and Harris knowingly created a firetrap, with inadequate means of escape,\" O'Malley said. \"They then filled that area with human beings and are now facing the consequences of their actions.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She said those who died in the Dec. 2, 2016, fire \"faced a nearly impossible labyrinth of the defendants' making\" that prevented their escape.\u003c/p>\n\u003cp>Almena was arrested Monday in Lake County. Harris, who had described himself as \"second in command\" to Almena in managing the Ghost Ship, was arrested in Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Almena's lawyers, including noted defense attorney Tony Serra, said in a brief written statement that the charges \"represent no less than a miscarriage of justice, and we are confident that this attempt to make a scapegoat out of our client will fail.\"\u003c/p>\n\u003cp>Deputy District Attorney Teresa Drenick said investigators had looked into the role of others in the events leading to the fire. She declined to say how many individuals had been investigated, and she declined to discuss whether further charges might be brought in the case. She said the office's inquiry into the blaze has ended.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.documentcloud.org/documents/3767126-Alameda-County-District-Attorney-Probable-Cause.html\" target=\"_blank\" rel=\"noopener noreferrer\">a three-page declaration\u003c/a> filed in support of the charges against Almena and Harris, prosecutors outlined a history of what they describe as illegal and dangerous behavior.\u003c/p>\n\u003cp>In addition to the illegal conversion of the warehouse to a group residence, the declaration says, Almena \"substantially increased the risk to those living, working or visiting the building by storing enormous amounts of flammable material inside the warehouse. Witnesses describe wood and other flammable objects being stored from floor to ceiling on the first level. Storing that amount of flammable material in the manner described by witnesses and shown in photographs, created an extremely dangerous fire load and was a violation of the Oakland Municipal code and the California Fire Safety code.\"\u003c/p>\n\u003cp>The document describes Harris' role as \"creative director\" of the Ghost Ship facility, responsible for collecting monthly rent from the warehouse's approximately 25 residents, acting as go-between with the building's landlord and arranging entertainment events at the venue.\u003c/p>\n\u003cp>The night of the fire, the declaration alleges, Harris helped prepare for an electronic music performance on the building's second floor. The main access to the area was a jury-rigged staircase made of wooden pallets.\u003c/p>\n\u003cp>\"In the course of his preparation,\" the document says, \"Harris blocked off an area of the second floor that included a second stairwell, which effectively reduced the upstairs guests to a single point of escape. Because of the fire, the power to the building went out and the guests that could escape, were forced down the narrow makeshift stairs in complete darkness.\"\u003c/p>\n\u003cp>O'Malley said that under California's homicide statutes, prosecutors \"must be satisfied that any defendant acted with gross or reckless conduct akin to a disregard for human life, and that the deadly consequences of those actions were reasonably foreseeable.\"\u003c/p>\n\u003cp>Monday's charges and arrests come after a long series of reports that detailed dangerous living conditions in the 31st Avenue warehouse, which had been converted illegally into a residence. Those conditions -- also enumerated as allegations in lawsuits filed against Almena, the building's owners and others -- included \u003ca href=\"http://www.mercurynews.com/2017/03/24/exclusive-ghost-ship-owners-knew-of-dangerous-electrical-system-before-deadly-fire/\" target=\"_blank\" rel=\"noopener noreferrer\">substandard, unlicensed electrical work\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11495706\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/ghostship1604.jpg\">\u003cimg class=\"size-medium wp-image-11495706\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/ghostship1604-800x1047.jpg\" alt=\"\" width=\"800\" height=\"1047\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-800x1047.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-160x209.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-1020x1335.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-1180x1544.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-960x1256.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-240x314.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-375x491.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604-520x680.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/ghostship1604.jpg 1242w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view down improvised stairway at the Ghost Ship warehouse, which burned in December 2016. The photo, taken in April 2016, shows a guest entering the space at upper right. The stairway was the only exit for guests in the East Oakland warehouse after fire broke out during a dance party. \u003ccite>(David Marks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Investigators still have not made an official ruling on exactly what sparked the fire, but reports in the days after the blaze suggested that an electrical fault was likely to blame.\u003c/p>\n\u003cp>The fire broke out just before 11:30 p.m. on Dec. 2 during a Friday night dance party at the warehouse. About 100 people were attending the event in a space that had never been inspected by the city or granted permits for public events. Perhaps two dozen Ghost Ship residents were also at home. Almena, his partner and their two children were staying in a hotel in downtown Oakland.\u003c/p>\n\u003cp>The blaze sent partygoers and residents scrambling to escape.\u003c/p>\n\u003cp>Those who fled, and the firefighters who attempted to enter the burning structure, described encountering a maze consisting of old pianos and furniture that, combined with heavy smoke, made it difficult to get out of or into the building.\u003c/p>\n\u003cp>The jury-rigged stairway made of wooden pallets burned, cutting off the escape route for dozens of people on the building's second floor.\u003c/p>\n\u003cp>Thirty-five concertgoers and one resident died.\u003c/p>\n\u003cp>The tragedy exposed a series of apparent failures or lack of follow-through in Oakland's fire and building inspections.\u003c/p>\n\u003cp>Although the Oakland Fire Department had said it conducted yearly inspections of the city's commercial and large residential buildings, it had no records of ever inspecting the Ghost Ship building.\u003c/p>\n\u003cp>The building and an adjacent property -- a debris- and vehicle-filled vacant lot also owned by landlord Chor Ng -- had been the subject of repeated blight complaints. The city's Planning and Building Department received at least two reports that suggested the structure had been converted, illegally, into a residence.\u003c/p>\n\u003cp>In one case, a city inspector said an unpermitted structure had been removed from the building. The city says that a second complaint, received three weeks before the fire, focused on the adjacent junk-strewn lot, not the warehouse itself.\u003c/p>\n\u003cp>Warehouse neighbors \u003ca href=\"https://ww2.kqed.org/news/2016/12/07/ghost-ship-neighbor-calls-to-police-brought-no-action-against-warehouse/\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> calling Oakland police repeatedly about noise and other issues at the warehouse -- including the possibility people were living there illegally.\u003c/p>\n\u003cp>The city later \u003ca href=\"https://ww2.kqed.org/news/2017/02/08/oakland-records-give-new-glimpses-into-history-preceding-ghost-ship-fire/\" target=\"_blank\" rel=\"noopener noreferrer\">released records\u003c/a> that showed 19 separate calls to respond to the warehouse.\u003c/p>\n\u003cp>Among those calls was a March 2015 incident in which officers responded to a 2 a.m. call that a rave, complete with illegal alcohol sales, was occurring in the building and that 15 people inside were not being allowed to leave. One of the responding officers confirmed the situation and notified an unidentified person at the Ghost Ship that the event was in violation of city ordinances, but decided not to issue a citation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This post will be updated. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Revisiting the Golden Age of Rock Billboards on the Sunset Strip",
"title": "Revisiting the Golden Age of Rock Billboards on the Sunset Strip",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>If you drove down the Sunset Strip in the late 1960s, you were treated to what was essentially an outdoor rock 'n' roll art gallery.\u003c/p>\n\u003cp>While psychedelic music poured out of the clubs, record stores and head shops along Sunset, the latest albums were being celebrated on gigantic billboards high above the street. But it wasn’t always that way. The very first rock billboard arrived on the strip 50 years ago -- just in time for the Summer of Love.\u003c/p>\n\u003cp>“It was this really unique period where art and culture merged and the '60s generation was sort of coming of age,” says photographer Robert Landau. “I think it was a really special time in a lot of ways.”\u003c/p>\n\u003cp>Landau spent 10 years photographing the billboards on the Strip -- producing what might be the most complete record of this largely unheralded art form. His photographs are collected in his book, “\u003ca href=\"https://www.angelcitypress.com/products/rbss\">Rock ‘N’ Roll Billboards of the Sunset Strip\u003c/a>” (Angel City Press). It all started in 1969, when Landau was just a shy teenager with a camera -- and the Sunset Strip was his front yard.\u003c/p>\n\u003cp>“My dad had a bachelor pad right above the Strip here,” Landau recalls. “And I was 15. I'd walk down here with my camera, getting into photography. And I'd see John Lennon and the Beatles 15-feet-high, and some guy up there painting them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/06/2017-06-02a-tcrmag.mp3\" Image=\"https://u.s.kqed.net/2017/06/02/Abbbey800.jpg\" Title=\"Revisiting the Golden Age of Rock Billboards on the Sunset Strip\" program=\"The California Report\"]\u003c/p>\n\u003cp>Each day on his way to school, Landau watched as his rock heroes took over the billboards on the strip, changing every month.\u003c/p>\n\u003cp>“About three weeks later, they’d paint it over with a new message,” he continues. “I knew they weren't around long. So I knew when I saw one I liked, I'd better get a picture or it'd be gone. I just started photographing them, and it became kind of an obsession for about 10 years.”\u003c/p>\n\u003cp>Of course, there have been billboards on Sunset as long as there have been cars. But up until the '60s, they were mainly ads for the usual products -- cars, whiskey, TV shows and Vegas acts.\u003c/p>\n\u003cp>Then, in 1967, an executive at Elektra Records had a radical idea. He’d noticed that all the radio DJ took Sunset on their way to work in Hollywood -- and he wanted their attention.\u003c/p>\n\u003cp>“Jac Holzman got the idea that a rock 'n' roll billboard should be up there, selling a record album,” Landau says. “And he had the perfect album.”\u003c/p>\n\u003cp>The Doors were an L.A. band, born on the strip, wildly popular and about to make it big -- Elektra was releasing the debut album. And when Holzman hung their four faces high above Sunset, he wasn’t so much trying to sell records as making a statement: The Doors are here, and Elektra’s got 'em!\u003c/p>\n\u003cfigure id=\"attachment_11491384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491384\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Doors800-800x489.jpg\" alt=\"The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles.\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-240x147.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-375x229.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-520x318.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No other company was doing that,” recalls Robbie Krieger, the band’s guitarist. “They didn't know if they were gonna make their money back on something like that. It was just more of an ego trip, I would say, for the record company and us.”\u003c/p>\n\u003cp>“We used to drive by every day and look at it — kinda hold up traffic.\"\u003c/p>\n\u003cp>As Krieger leafs through Landau’s book, he recalls the day the billboard was erected on the Strip. With the entire band on hand, Elektra made sure the event was well publicized. Krieger stops at an image of the four of them — Jim Morrison, Ray Manzarek, John Densmore and himself — perched high on top of the billboard.\u003c/p>\n\u003cp>“Oh yeah, they let us go up on top!” Krieger chuckles. “That would never happen today. But we hung out there for probably half-an-hour while they were putting it up. … I'm amazed they let us sit there like that.”\u003c/p>\n\u003cp>Other labels caught on, and soon every major act saw its latest album immortalized on the Strip -- The Who, the Rolling Stones, Crosby, Stills & Nash, Jimi Hendrix, Pink Floyd. And while promoting rock music with just an image might seem counterintuitive, for a generation used to obsessing over album covers in detail, music and art were almost the same thing. And, Landau adds, the billboards weren’t really about advertising, they were about communication — almost like sending a secret message to the fans.\u003c/p>\n\u003cfigure id=\"attachment_11491386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491386\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Animals800-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A billboard for Pink Floyd's 'Animals' on the Sunset Strip, 1977. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a lot of cases they're not even telling you what they're selling,” Landau points out. We’re standing on the corner of Sunset and Holloway, where a selection of Landau’s images is on display throughout this year. He points to one image: a billboard showing a pig, a dog and a sheep – and not a word of text.\u003c/p>\n\u003cp>“If you didn't know that Pink Floyd had a record out called 'Animals,' you didn't know what they were advertising,” Landau remarks. “And they didn't care. It really wasn't about that.”\u003c/p>\n\u003cp>In the pre-MTV, pre-YouTube and pre-iTunes era, “the first way to get people's attention was through the album cover, the visual,” Landau adds. “And those visuals also became the billboards. So that's the connection.”\u003c/p>\n\u003cp>Landau photographed hundreds of billboards during rock’s heyday. His book is dedicated to the artists who created the billboards, many of which were hand-painted. Landau holds a special reverence for those artists, many of whom he got to know as he watched them at work on his daily walks.\u003c/p>\n\u003cfigure id=\"attachment_11491448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11491448 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-160x121.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1020x771.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1180x892.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-960x726.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-375x283.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-520x393.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Landau poses in front of his photo of a Beatles billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The billboards were an uncredited art form,” he says. “Nobody said who painted 'em, who designed 'em. Just the art of rendering these heads, at that size, was an incredible bit of craftsmanship, artistry, whatever you want to say, but it was really spectacular.\u003c/p>\n\u003cp>\"Because when you get right up to any billboard, it looks like a series of splotches. These things are huge. And you don't really notice it driving by in your car, but you get up close and they're really large.\"\u003c/p>\n\u003cp>One billboard was famously at the center of a crime that went unsolved for over four decades -- Paul McCartney’s missing head. It all started with the release of the Beatles’ album, “Abbey Road,” in 1969. That year, you couldn’t escape the bizarre rumor that “Paul was dead.”\u003c/p>\n\u003cp>“People were playing the records backwards, looking for clues, and they even said that this image was sort of a funeral march because he's barefoot,” recalls Landau, as we look at a photograph of the album’s billboard. Like the album cover, it features the Beatles in single file, crossing Abbey Road. Their heads are cutouts that extend above the billboard, silhouetted against the sky.\u003c/p>\n\u003cp>On the morning of Dec. 23, 1969, Sunset Strip commuters saw what looked like the latest clue to McCartney’s demise – Paul’s head was missing from the billboard. Capitol Records sent the art director, Roland Young, out to investigate.\u003c/p>\n\u003cp>“He looks at it and they say, 'What do you want us to do? Should we replace the head?' ” says Landau. “And he says, 'No, leave it like that — it'll get a lot more attention!' ”\u003c/p>\n\u003cp>Young was right — the publicity certainly didn’t hurt record sales. But who was behind McCartney’s decapitation?\u003c/p>\n\u003cfigure id=\"attachment_11491451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491451\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/PaulsHead-800x600.jpg\" alt=\"Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My buddies helped me, and we did it on Dec. 22, which was my birthday,” admits Robert Quinn. He was just turning 19 when he got the idea to pull off the heist. Quinn enlisted two accomplices, and around 2 a.m., they pulled up underneath the billboard in his vintage Volvo. One of the crew had brought along a Skilsaw. Within minutes, they had their prize.\u003c/p>\n\u003cp>“So we threw Paul’s head into the trunk of my car and took off,” Quinn laughs. “It was quick! If you were driving by, one second it was up there and the next it was gone.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>McCartney’s head hangs on Quinn’s living room wall to this day. And he may have unknowingly salvaged the only remaining relic of this chapter in rock history. Because once a rock star’s billboard came down at the end of the month, it was destroyed, gone forever -- and replaced by the Next Big Thing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you drove down the Sunset Strip in the late 1960s, you were treated to what was essentially an outdoor rock 'n' roll art gallery.\u003c/p>\n\u003cp>While psychedelic music poured out of the clubs, record stores and head shops along Sunset, the latest albums were being celebrated on gigantic billboards high above the street. But it wasn’t always that way. The very first rock billboard arrived on the strip 50 years ago -- just in time for the Summer of Love.\u003c/p>\n\u003cp>“It was this really unique period where art and culture merged and the '60s generation was sort of coming of age,” says photographer Robert Landau. “I think it was a really special time in a lot of ways.”\u003c/p>\n\u003cp>Landau spent 10 years photographing the billboards on the Strip -- producing what might be the most complete record of this largely unheralded art form. His photographs are collected in his book, “\u003ca href=\"https://www.angelcitypress.com/products/rbss\">Rock ‘N’ Roll Billboards of the Sunset Strip\u003c/a>” (Angel City Press). It all started in 1969, when Landau was just a shy teenager with a camera -- and the Sunset Strip was his front yard.\u003c/p>\n\u003cp>“My dad had a bachelor pad right above the Strip here,” Landau recalls. “And I was 15. I'd walk down here with my camera, getting into photography. And I'd see John Lennon and the Beatles 15-feet-high, and some guy up there painting them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each day on his way to school, Landau watched as his rock heroes took over the billboards on the strip, changing every month.\u003c/p>\n\u003cp>“About three weeks later, they’d paint it over with a new message,” he continues. “I knew they weren't around long. So I knew when I saw one I liked, I'd better get a picture or it'd be gone. I just started photographing them, and it became kind of an obsession for about 10 years.”\u003c/p>\n\u003cp>Of course, there have been billboards on Sunset as long as there have been cars. But up until the '60s, they were mainly ads for the usual products -- cars, whiskey, TV shows and Vegas acts.\u003c/p>\n\u003cp>Then, in 1967, an executive at Elektra Records had a radical idea. He’d noticed that all the radio DJ took Sunset on their way to work in Hollywood -- and he wanted their attention.\u003c/p>\n\u003cp>“Jac Holzman got the idea that a rock 'n' roll billboard should be up there, selling a record album,” Landau says. “And he had the perfect album.”\u003c/p>\n\u003cp>The Doors were an L.A. band, born on the strip, wildly popular and about to make it big -- Elektra was releasing the debut album. And when Holzman hung their four faces high above Sunset, he wasn’t so much trying to sell records as making a statement: The Doors are here, and Elektra’s got 'em!\u003c/p>\n\u003cfigure id=\"attachment_11491384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491384\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Doors800-800x489.jpg\" alt=\"The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles.\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-240x147.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-375x229.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-520x318.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No other company was doing that,” recalls Robbie Krieger, the band’s guitarist. “They didn't know if they were gonna make their money back on something like that. It was just more of an ego trip, I would say, for the record company and us.”\u003c/p>\n\u003cp>“We used to drive by every day and look at it — kinda hold up traffic.\"\u003c/p>\n\u003cp>As Krieger leafs through Landau’s book, he recalls the day the billboard was erected on the Strip. With the entire band on hand, Elektra made sure the event was well publicized. Krieger stops at an image of the four of them — Jim Morrison, Ray Manzarek, John Densmore and himself — perched high on top of the billboard.\u003c/p>\n\u003cp>“Oh yeah, they let us go up on top!” Krieger chuckles. “That would never happen today. But we hung out there for probably half-an-hour while they were putting it up. … I'm amazed they let us sit there like that.”\u003c/p>\n\u003cp>Other labels caught on, and soon every major act saw its latest album immortalized on the Strip -- The Who, the Rolling Stones, Crosby, Stills & Nash, Jimi Hendrix, Pink Floyd. And while promoting rock music with just an image might seem counterintuitive, for a generation used to obsessing over album covers in detail, music and art were almost the same thing. And, Landau adds, the billboards weren’t really about advertising, they were about communication — almost like sending a secret message to the fans.\u003c/p>\n\u003cfigure id=\"attachment_11491386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491386\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Animals800-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A billboard for Pink Floyd's 'Animals' on the Sunset Strip, 1977. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a lot of cases they're not even telling you what they're selling,” Landau points out. We’re standing on the corner of Sunset and Holloway, where a selection of Landau’s images is on display throughout this year. He points to one image: a billboard showing a pig, a dog and a sheep – and not a word of text.\u003c/p>\n\u003cp>“If you didn't know that Pink Floyd had a record out called 'Animals,' you didn't know what they were advertising,” Landau remarks. “And they didn't care. It really wasn't about that.”\u003c/p>\n\u003cp>In the pre-MTV, pre-YouTube and pre-iTunes era, “the first way to get people's attention was through the album cover, the visual,” Landau adds. “And those visuals also became the billboards. So that's the connection.”\u003c/p>\n\u003cp>Landau photographed hundreds of billboards during rock’s heyday. His book is dedicated to the artists who created the billboards, many of which were hand-painted. Landau holds a special reverence for those artists, many of whom he got to know as he watched them at work on his daily walks.\u003c/p>\n\u003cfigure id=\"attachment_11491448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11491448 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-160x121.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1020x771.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1180x892.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-960x726.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-375x283.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-520x393.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Landau poses in front of his photo of a Beatles billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The billboards were an uncredited art form,” he says. “Nobody said who painted 'em, who designed 'em. Just the art of rendering these heads, at that size, was an incredible bit of craftsmanship, artistry, whatever you want to say, but it was really spectacular.\u003c/p>\n\u003cp>\"Because when you get right up to any billboard, it looks like a series of splotches. These things are huge. And you don't really notice it driving by in your car, but you get up close and they're really large.\"\u003c/p>\n\u003cp>One billboard was famously at the center of a crime that went unsolved for over four decades -- Paul McCartney’s missing head. It all started with the release of the Beatles’ album, “Abbey Road,” in 1969. That year, you couldn’t escape the bizarre rumor that “Paul was dead.”\u003c/p>\n\u003cp>“People were playing the records backwards, looking for clues, and they even said that this image was sort of a funeral march because he's barefoot,” recalls Landau, as we look at a photograph of the album’s billboard. Like the album cover, it features the Beatles in single file, crossing Abbey Road. Their heads are cutouts that extend above the billboard, silhouetted against the sky.\u003c/p>\n\u003cp>On the morning of Dec. 23, 1969, Sunset Strip commuters saw what looked like the latest clue to McCartney’s demise – Paul’s head was missing from the billboard. Capitol Records sent the art director, Roland Young, out to investigate.\u003c/p>\n\u003cp>“He looks at it and they say, 'What do you want us to do? Should we replace the head?' ” says Landau. “And he says, 'No, leave it like that — it'll get a lot more attention!' ”\u003c/p>\n\u003cp>Young was right — the publicity certainly didn’t hurt record sales. But who was behind McCartney’s decapitation?\u003c/p>\n\u003cfigure id=\"attachment_11491451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491451\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/PaulsHead-800x600.jpg\" alt=\"Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My buddies helped me, and we did it on Dec. 22, which was my birthday,” admits Robert Quinn. He was just turning 19 when he got the idea to pull off the heist. Quinn enlisted two accomplices, and around 2 a.m., they pulled up underneath the billboard in his vintage Volvo. One of the crew had brought along a Skilsaw. Within minutes, they had their prize.\u003c/p>\n\u003cp>“So we threw Paul’s head into the trunk of my car and took off,” Quinn laughs. “It was quick! If you were driving by, one second it was up there and the next it was gone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With his bushy mustache and tousled, dare we say, disregarded hair, Aaron M. Olson looks like a mad scientist. And he makes music like one, too. There’s a chemistry, even alchemy, to the sounds he’s created with his seven-piece ensemble, \u003ca href=\"http://latakedown.com\">L.A. Takedown\u003c/a>.\u003c/p>\n\u003cp>On that note, the cover photo of the new second Takedown album, “II,” is a little white pill pinched between a thumb and forefinger. And there is certainly an altered state aspect to these pieces, right from the sunlight-on-the water ripples of the opening prelude, “The First Thing.” On “Blue Skies (on Mars),” Olson and crew evoke \u003ci>that\u003c/i> scene with elastic guitar lines that call to mind Roxy Music’s Phil Manzanera.\u003c/p>\n\u003cfigure id=\"attachment_11491281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491281\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-800x800.jpg\" alt=\"The cover of L.A. Takedown's 'II.'\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of L.A. Takedown's 'II.'\u003c/figcaption>\u003c/figure>\n\u003cp>Olson was born and raised in San Diego, studied classical music history and theory at San Francisco State, and then settled in L.A. For this music, he cites such disparate influences as King Crimson’s \u003ca href=\"http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/robert-fripp-20111122\">Robert Fripp\u003c/a>, Nigerian AfroPop star \u003ca href=\"http://www.allmusic.com/artist/king-sunny-ade-mn0000771297/biography\">King Sunny Ade\u003c/a> and Japanese composer Tori Kudo. You also might hear the electronic atmospheres of Tangerine Dream or “Wish You Were Here”-era Pink Floyd to varying degrees. On one end of the scale, there’s a track called “Dose,” all drift and float.\u003c/p>\n\u003cp>On the other side, there’s an action-scene vibe. A \u003ci>lot\u003c/i> of this has a soundtrack feel to it, even down to some of the titles. You can easily imagine “Bad Night at Black's Beach” behind a scene in an '80s\u003ca href=\"http://www.imdb.com/name/nm0000520/\"> Michael Mann\u003c/a> thriller. In fact, L.A. Takedown was born a few years back to score a series of short films, with the results released on their self-titled 2015 debut. This second one sees the project expanded to a full band and wider scope, reflecting Olson's history and tastes.\u003c/p>\n\u003cp>If some of this, such as the pulsating “Night Skiing,” catches the ears of a few Hollywood directors, Olson’s next project might not be \u003ci>imaginary\u003c/i> feature soundtracks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4-fcWe8cKok\u003c/p>\n\n",
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"content": "\u003cp>Comedian and talk show host \u003ca href=\"http://www.wkamaubell.com/\">W. Kamau Bell\u003c/a> has interviewed fully hooded Klansmen in a dark forest at night. But one of his most vulnerable interviews came when he \u003ca href=\"http://longestshortesttime.com/episode-88-w-kamau-bell-asks-his-mom-about-sex/\">talked with his nearly 80-year- old mother\u003c/a> about her sex life.\u003c/p>\n\u003cp>Bell’s fame has spread from Bay Area comedy clubs to the national stage with his hit CNN show \u003ca href=\"http://www.cnn.com/shows/united-shades-of-america\">\u003cspan style=\"font-weight: 400\">“United Shades of America”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- where he takes a road trip across the country to explore themes of race, identity and politics.\u003c/span>\u003c/p>\n\u003cp>His new memoir, which came out this month, is called \u003ci>The Awkward Thoughts of W. Kamau Bell: Tales of a 6’4” African American, Heterosexual, Cisgender, Left-Leaning, Asthmatic, Black and Proud Blerd, Mama’s Boy, Dad, and Stand-Up Comedian\u003c/i>. He sat down with The California Report Magazine’s host, Sasha Khokha.\u003c/p>\n\u003ch3>Interview Highlights:\u003c/h3>\n\u003cp>\u003cb>On being black, 6'4\", and not playing basketball:\u003c/b>\u003c/p>\n\u003cp>\"I tried, but I didn’t play that well. If I had been great at it, it would be a different book. Then it would be an NBA memoir on ‘how I went from poor to now I’m a gillionaire.’ I just met someone who asked, ‘Were you good at basketball, or were you a waste of height?’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>On being hip in his 40s:\u003c/b>\u003c/p>\n\u003cp>“We are the age of the current culture. Every record store you walk into is playing '90s music. The '90s are currently what everybody’s into. Once it becomes like Brittany Spears, that’s when we’re done.”\u003c/p>\n\u003cp>\u003cb>On interviewing his nearly 80-year-old mom about her sex life for the parenting podcast \"\u003ca href=\"https://longestshortesttime.com/\">The Longest Shortest Time\"\u003c/a>\u003c/b>\u003c/p>\n\u003cp>“I mean, it made me blush. There’s a couple points where I was like, that’s enough, where I cut her off. You’re not supposed to do that in an interview. But it was my mom. It’s funny, a lot of the work I do, people sort of talk about it as something I’m doing for the world, or maybe for my community. It’s really all pretty selfish.\u003c/p>\n\u003cp>\"I wanted to have that conversation with my mom for a long time because I didn’t know what was going on. We were really close, and there was this one aspect of her life that we hadn’t talked about, her dating life. I sort of had this narrative in my head that my mom was this lonely person.”\u003c/p>\n\u003cp>\u003cb>On being a dad to two mixed-race daughters with different complexions:\u003c/b>\u003c/p>\n\u003cp>“While they’re clearly sisters, our youngest daughter is much lighter, her hair is much thinner, it’s not as kinky as her sister's. And we’re like, 'Oh, they’re going to have very different experiences.' My wife is #woke. She’s like, ‘Juno’s going to pass.’ And it’s just like wow. There’s two things there. Sami will probably be exotified by some people. And Juno may not be exotified, but she will be able to get into spaces that Sami won’t be able to get into and hear. We’ll have to have two different manuals [for raising our kids.]”\u003c/p>\n\u003cp>[contextly_sidebar id=\"PhtNYitSLR3r9FAsvom3hgtV1zRPH3pv\"]\u003c/p>\n\u003cp>\u003cb>On staying funny when performing for people with post-election political depression:\u003c/b>\u003c/p>\n\u003cp>“I have to make sure that the jokes that I’m telling are taking that perspective in, like I’m not talking at you, I’m like, 'I know, I know where we’re all at.'\u003c/p>\n\u003cp>\"I was also heartbroken by the election, so I wasn’t different from the audience. I was actually right there with them. Laughter can sort of help motivate. I don’t want you to be sad. I also know how serious the consequences are. If you stay sad, then we’re not going to win. So, let’s get happy.”\u003c/p>\n\u003cp>\u003cb>On interviewing a fully hooded member of the Ku Klux Klan in the woods for his show “United Shades of America\" with a mostly white TV crew:\u003c/b>\u003c/p>\n\u003cp>“I kept having to sort of advocate for ‘I need help here,’ that’s a different kind of help than just like, 'What do you need, water?' It’s not that the producers and crew didn’t have my back. They had my physical back but they didn’t have my racial back. Nobody knew how to reach out. Eventually I formed a very deep friendship with them, and now we’re all waking up together. Now they realize, Kamau is actually feeling all this stuff, he’s having a real experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wGBooYqU1dg\u003c/p>\n\u003cp>“The guy who runs the show now [in the second season] is a black guy who has a Ph.D. in psychology. And there’s more black and brown faces on the crew. So when we do things that sometimes seem crazy, we have each other’s back physically and emotionally. It’s great to have a crew that you can immediately get into the van when you drive away from the scene and be like, ‘That was crazy!’ ”\u003c/p>\n\u003cp>\u003cb>On making a podcast called \u003ca href=\"https://itunes.apple.com/us/podcast/denzel-washington-is-the-greatest-actor-of-all-time-period/id935756902?mt=2\">\"Denzel Washington is the Greatest Actor of All Time, Period.”\u003c/a> With 118 episodes!\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We didn’t realize how many other people out there felt the same way we did. Fans, other actors, people who auditioned for roles in Denzel Washington movies and didn’t get 'em. There’s a lot of talk in Hollywood, 'Tom Hanks is so great,' 'Will Ferrell is so great.' Why aren’t people doing that for Denzel? How come whenever we have the conversation about who the greatest actors are, it’s always the same white dudes? It’s like De Niro, Pacino, Brando, DiCaprio – all the “o” actors. How come Denzel’s not in that conversation?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian and talk show host \u003ca href=\"http://www.wkamaubell.com/\">W. Kamau Bell\u003c/a> has interviewed fully hooded Klansmen in a dark forest at night. But one of his most vulnerable interviews came when he \u003ca href=\"http://longestshortesttime.com/episode-88-w-kamau-bell-asks-his-mom-about-sex/\">talked with his nearly 80-year- old mother\u003c/a> about her sex life.\u003c/p>\n\u003cp>Bell’s fame has spread from Bay Area comedy clubs to the national stage with his hit CNN show \u003ca href=\"http://www.cnn.com/shows/united-shades-of-america\">\u003cspan style=\"font-weight: 400\">“United Shades of America”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- where he takes a road trip across the country to explore themes of race, identity and politics.\u003c/span>\u003c/p>\n\u003cp>His new memoir, which came out this month, is called \u003ci>The Awkward Thoughts of W. Kamau Bell: Tales of a 6’4” African American, Heterosexual, Cisgender, Left-Leaning, Asthmatic, Black and Proud Blerd, Mama’s Boy, Dad, and Stand-Up Comedian\u003c/i>. He sat down with The California Report Magazine’s host, Sasha Khokha.\u003c/p>\n\u003ch3>Interview Highlights:\u003c/h3>\n\u003cp>\u003cb>On being black, 6'4\", and not playing basketball:\u003c/b>\u003c/p>\n\u003cp>\"I tried, but I didn’t play that well. If I had been great at it, it would be a different book. Then it would be an NBA memoir on ‘how I went from poor to now I’m a gillionaire.’ I just met someone who asked, ‘Were you good at basketball, or were you a waste of height?’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>On being hip in his 40s:\u003c/b>\u003c/p>\n\u003cp>“We are the age of the current culture. Every record store you walk into is playing '90s music. The '90s are currently what everybody’s into. Once it becomes like Brittany Spears, that’s when we’re done.”\u003c/p>\n\u003cp>\u003cb>On interviewing his nearly 80-year-old mom about her sex life for the parenting podcast \"\u003ca href=\"https://longestshortesttime.com/\">The Longest Shortest Time\"\u003c/a>\u003c/b>\u003c/p>\n\u003cp>“I mean, it made me blush. There’s a couple points where I was like, that’s enough, where I cut her off. You’re not supposed to do that in an interview. But it was my mom. It’s funny, a lot of the work I do, people sort of talk about it as something I’m doing for the world, or maybe for my community. It’s really all pretty selfish.\u003c/p>\n\u003cp>\"I wanted to have that conversation with my mom for a long time because I didn’t know what was going on. We were really close, and there was this one aspect of her life that we hadn’t talked about, her dating life. I sort of had this narrative in my head that my mom was this lonely person.”\u003c/p>\n\u003cp>\u003cb>On being a dad to two mixed-race daughters with different complexions:\u003c/b>\u003c/p>\n\u003cp>“While they’re clearly sisters, our youngest daughter is much lighter, her hair is much thinner, it’s not as kinky as her sister's. And we’re like, 'Oh, they’re going to have very different experiences.' My wife is #woke. She’s like, ‘Juno’s going to pass.’ And it’s just like wow. There’s two things there. Sami will probably be exotified by some people. And Juno may not be exotified, but she will be able to get into spaces that Sami won’t be able to get into and hear. We’ll have to have two different manuals [for raising our kids.]”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>On staying funny when performing for people with post-election political depression:\u003c/b>\u003c/p>\n\u003cp>“I have to make sure that the jokes that I’m telling are taking that perspective in, like I’m not talking at you, I’m like, 'I know, I know where we’re all at.'\u003c/p>\n\u003cp>\"I was also heartbroken by the election, so I wasn’t different from the audience. I was actually right there with them. Laughter can sort of help motivate. I don’t want you to be sad. I also know how serious the consequences are. If you stay sad, then we’re not going to win. So, let’s get happy.”\u003c/p>\n\u003cp>\u003cb>On interviewing a fully hooded member of the Ku Klux Klan in the woods for his show “United Shades of America\" with a mostly white TV crew:\u003c/b>\u003c/p>\n\u003cp>“I kept having to sort of advocate for ‘I need help here,’ that’s a different kind of help than just like, 'What do you need, water?' It’s not that the producers and crew didn’t have my back. They had my physical back but they didn’t have my racial back. Nobody knew how to reach out. Eventually I formed a very deep friendship with them, and now we’re all waking up together. Now they realize, Kamau is actually feeling all this stuff, he’s having a real experience.”\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/wGBooYqU1dg'\n title='//www.youtube.com/embed/wGBooYqU1dg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The guy who runs the show now [in the second season] is a black guy who has a Ph.D. in psychology. And there’s more black and brown faces on the crew. So when we do things that sometimes seem crazy, we have each other’s back physically and emotionally. It’s great to have a crew that you can immediately get into the van when you drive away from the scene and be like, ‘That was crazy!’ ”\u003c/p>\n\u003cp>\u003cb>On making a podcast called \u003ca href=\"https://itunes.apple.com/us/podcast/denzel-washington-is-the-greatest-actor-of-all-time-period/id935756902?mt=2\">\"Denzel Washington is the Greatest Actor of All Time, Period.”\u003c/a> With 118 episodes!\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We didn’t realize how many other people out there felt the same way we did. Fans, other actors, people who auditioned for roles in Denzel Washington movies and didn’t get 'em. There’s a lot of talk in Hollywood, 'Tom Hanks is so great,' 'Will Ferrell is so great.' Why aren’t people doing that for Denzel? How come whenever we have the conversation about who the greatest actors are, it’s always the same white dudes? It’s like De Niro, Pacino, Brando, DiCaprio – all the “o” actors. 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"disqusTitle": "State Weighs Funding Artist Housing Improvements in Wake of Ghost Ship Fire",
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"content": "\u003cp>California lawmakers heard testimony from artists, nonprofits and developers on Wednesday, in an effort to find out what the state can do to address a shortage of artist housing in the wake of Oakland's Ghost Ship fire.\u003c/p>\n\u003cp>The Legislature's Joint Committee on Arts held a hearing to review the state's \"creative economy,\" but the discussion centered on how to house artists in safe and affordable settings.\u003c/p>\n\u003cp>The \u003ca href=\"https://ww2.kqed.org/news/tag/ghost-ship-fire/\">Ghost Ship warehouse fire\u003c/a> in December \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\">killed 36 people\u003c/a>, all involved in the Bay Area arts scene. The two-story building was an un-permitted living space that was hosting an electronic music show when the fire broke out.\u003c/p>\n\u003cp>[contextly_sidebar id=\"7l3ni6gDn8nTgqTYw1ZFHTeefAvQ1gy1\"]\u003c/p>\n\u003cp>Ron Vidal, one of the founders of the group \u003ca href=\"http://artistsofthebay.org/\">We the Artists of the Bay Area\u003c/a>, encouraged artists to engage with policymakers on housing affordability and safety issues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Historically, the creative community hasn’t spoken in a collective voice,\" he said. \"We’ve never really had to talk to the government.\"\u003c/p>\n\u003cp>Vidal warned state and local lawmakers against using the fire as a reason to pursue code violations against similar artist live-work spaces. He suggested that cities consider temporary moratoriums on compliance.\u003c/p>\n\u003cp>In January, Oakland Mayor Libby Schaaf \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\">signed an executive order\u003c/a> that pushed property owners to come into compliance with building codes without evicting their tenants.\u003c/p>\n\u003cp>Still, members of the Oakland arts community expressed concern at Wednesday's hearing that landlords were clearing out tenants to avoid lawsuits.\u003c/p>\n\u003cp>\"We have a lot of ‘liability-first’ concerns,\" said Jonah Strauss, executive director of the Oakland Warehouse Coalition. \"We have some very reactionary landlords who go after tenants.\"\u003c/p>\n\u003cp>The lawmakers at the hearing said they had little power to directly revise local building codes.\u003c/p>\n\u003cp>State Sen. Nancy Skinner (D-Oakland) said she wants to direct some state funding to fix up spaces similar to the Ghost Ship. Her legislation, \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201720180SB305\">SB 305\u003c/a>, would invest $20 million in low-interest loans to upgrade unsafe live-work buildings. The bill is currently in the Senate Appropriations Committee.\u003c/p>\n\u003cp>\"We wrote it to try to identify just some minimal safety standards that the loan would be able to be used for,\" Skinner said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skinner added that her colleague. Sen. Mike McGuire (D-Healdsburg), is convening a working group of the Senate Governance and Finance Committee to look at legislative fixes to state building codes.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California lawmakers heard testimony from artists, nonprofits and developers on Wednesday, in an effort to find out what the state can do to address a shortage of artist housing in the wake of Oakland's Ghost Ship fire.\u003c/p>\n\u003cp>The Legislature's Joint Committee on Arts held a hearing to review the state's \"creative economy,\" but the discussion centered on how to house artists in safe and affordable settings.\u003c/p>\n\u003cp>The \u003ca href=\"https://ww2.kqed.org/news/tag/ghost-ship-fire/\">Ghost Ship warehouse fire\u003c/a> in December \u003ca href=\"https://ww2.kqed.org/arts/programs/oakland-warehouse-memorial/\">killed 36 people\u003c/a>, all involved in the Bay Area arts scene. The two-story building was an un-permitted living space that was hosting an electronic music show when the fire broke out.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ron Vidal, one of the founders of the group \u003ca href=\"http://artistsofthebay.org/\">We the Artists of the Bay Area\u003c/a>, encouraged artists to engage with policymakers on housing affordability and safety issues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Historically, the creative community hasn’t spoken in a collective voice,\" he said. \"We’ve never really had to talk to the government.\"\u003c/p>\n\u003cp>Vidal warned state and local lawmakers against using the fire as a reason to pursue code violations against similar artist live-work spaces. He suggested that cities consider temporary moratoriums on compliance.\u003c/p>\n\u003cp>In January, Oakland Mayor Libby Schaaf \u003ca href=\"https://ww2.kqed.org/arts/2017/01/11/oakland-mayor-issues-exec-order-protecting-tenants-of-unsafe-warehouse-spaces/\">signed an executive order\u003c/a> that pushed property owners to come into compliance with building codes without evicting their tenants.\u003c/p>\n\u003cp>Still, members of the Oakland arts community expressed concern at Wednesday's hearing that landlords were clearing out tenants to avoid lawsuits.\u003c/p>\n\u003cp>\"We have a lot of ‘liability-first’ concerns,\" said Jonah Strauss, executive director of the Oakland Warehouse Coalition. \"We have some very reactionary landlords who go after tenants.\"\u003c/p>\n\u003cp>The lawmakers at the hearing said they had little power to directly revise local building codes.\u003c/p>\n\u003cp>State Sen. Nancy Skinner (D-Oakland) said she wants to direct some state funding to fix up spaces similar to the Ghost Ship. Her legislation, \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201720180SB305\">SB 305\u003c/a>, would invest $20 million in low-interest loans to upgrade unsafe live-work buildings. The bill is currently in the Senate Appropriations Committee.\u003c/p>\n\u003cp>\"We wrote it to try to identify just some minimal safety standards that the loan would be able to be used for,\" Skinner said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skinner added that her colleague. Sen. Mike McGuire (D-Healdsburg), is convening a working group of the Senate Governance and Finance Committee to look at legislative fixes to state building codes.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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.",
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"soldout": {
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