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Episode Two: Radioactive Ships
Much of the nuclear waste left in the soil at the Hunters Point Naval Shipyard actually originated in the Marshall Islands, where the U.S. military conducted nuclear bomb tests between 1946 and 1958. The first Pacific nuclear test was Operation Crossroads, in July of 1946. Following that event, the U.S. Navy brought 79 contaminated vessels back to Hunters Point for "decontamination" studies.
This audio series was created and reported by Rebecca Bowe. It was originally commissioned and produced by the nonprofit news
organization San Francisco Public Press as part of an upcoming audio and text series called “Exposed,” with editing by Michael Stoll; archival, audio and photographic research by Chris Roberts and Stacey Carter; engineering and sound design by Mel Baker; fact-checking by Ambika Kandasamy and support from the Fund for Environmental Journalism and the California Endowment. “Sandblasted at the Shipyard” had additional audio engineering and sound design by Jacob Nasim, with support from the Breathe Network for Racial, Environmental and Climate Justice.
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By Rebecca BoweMuch of the nuclear waste left in the soil at the Hunters Point Naval Shipyard actually originated in the Marshall Islands, where the U.S. military conducted nuclear bomb tests between 1946 and 1958. The first Pacific nuclear test was Operation Crossroads, in July of 1946. Following that event, the U.S. Navy brought 79 contaminated vessels back to Hunters Point for "decontamination" studies.
This audio series was created and reported by Rebecca Bowe. It was originally commissioned and produced by the nonprofit news
organization San Francisco Public Press as part of an upcoming audio and text series called “Exposed,” with editing by Michael Stoll; archival, audio and photographic research by Chris Roberts and Stacey Carter; engineering and sound design by Mel Baker; fact-checking by Ambika Kandasamy and support from the Fund for Environmental Journalism and the California Endowment. “Sandblasted at the Shipyard” had additional audio engineering and sound design by Jacob Nasim, with support from the Breathe Network for Racial, Environmental and Climate Justice.