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Guests:* Rossana D'Antonio – Author of 26 Seconds: Grief and Blame in the Aftermath of Losing My Brother in a Plane Crash* Marty Ross-Dolen – Author of Always There, Always Gone: A Daughter's Search for TruthTwo authors, Rossana D'Antonio and Marty Ross-Dolen, each faced the unimaginable loss of loved ones in separate plane crashes decades apart. Their grief led them to write powerful memoirs—Rossana's 26 Seconds and Marty's Always There, Always Gone—that explore truth, healing, and the lasting impact of tragedy. In an extraordinary coincidence, both books were released in the same week, a situation that could easily spark feelings of rivalry or jealousy between writers. Instead, their shared experience created a bond as they connected over loss, resilience, and the courage it takes to turn pain into story. This episode dives into that connection, exploring not only grief but also the unexpected solidarity found in telling similar stories side by side.Hey everyone, it's Jenny Nash. This episode happens to feature an Author Accelerator book coach. Author Accelerator is the company I founded more than 10 years ago to lead the emerging book coaching industry. If you've been curious about what it takes to become a successful book coach, which is to say, someone who makes money, meaning, and joy out of serving writers, I've just created a bunch of great content to help you learn more. You can access it all by going to bookcoaches.com/waitlist. We'll be enrolling a new cohort of students in our certification program in October, so now's a perfect time to learn more and start making plans for a whole new career.Transcript below!EPISODE 464 - TRANSCRIPTJennie NashHey everyone. It's Jennie Nash. This episode happens to feature an Author Accelerator book coach. Author Accelerator is the company I founded more than 10 years ago to lead the emerging book coaching industry. If you've been curious about what it takes to become a successful book coach, which is to say someone who makes money, meaning and joy out of serving writers. I've just created a bunch of great content to help you learn more. You can access it all by going to book bookcoaches.com/waitlist. That's bookcoaches.com/waitlist. We'll be enrolling a new cohort of students in our certification program in October, so now's a perfect time to learn more and start making plans for a whole new career.Multiple SpeakersIs it recording? Now it's recording, yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. All right, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now—one, two, three.Jennie NashHey everyone. I'm Jennie Nash, and this is the Hashtag AmWriting Podcast, the place where we talk about writing all the things, short things, long things, fiction, nonfiction, pitches and proposals. Today I'm here to talk with two writers who I brought together because of a very interesting coincidence; each of these writers recently published a memoir about a plane crash. They each lost somebody that they love in a plane crash, and they wrote a story about their search for understanding and their search for healing and what it all means to their lives. These two books are really different stories, which I think is so interesting and says so much about the creative process. And what's remarkable is that these two books were published just one week apart, and these two writers became aware of each other's books and became friends. I happened to have a connection to each of these writers. At several points throughout her writing process, I coached Rossana D'Antonio including the very first time she came into a classroom to write about this story. Her book is called 26 Seconds: Grief and Blame in the Aftermath of Losing My Brother in a Plane Crash. Marty Ross-Dolen is the other author. Her book is called Always There, Always Gone: A Daughter's Search for Truth. Marty is a writer who came into my Author Accelerator book coach certification program to study how to become a book coach, and that's when I became aware of her and her story. In this conversation, Marty and Rossana come together with me to talk about grief, writing, jealousy and so many of the things that make memoir such a difficult and challenging genre to write and also such a satisfying one. I can't wait for you to listen. So let's get started. Welcome Rossana and Marty. I'm so excited to have you both here today to talk about this incredible topic. And before we get going, we are talking just days after there was a terrible plane crash in India in which a lot of people died and one man walked away, and there's a plane crash at the center of both of your books. And I just wanted to start by asking, how do you feel when this happens as it happens so many times, you know, are you okay as we sit here today? Or does this weigh on you? What is it? What is it like to sit here today? So maybe we'll start Rossana with you.Rossana D'AntonioOkay, well, thanks, Jennie, for inviting me on your podcast. It's really exciting to be here and to share, you know, this podcast with Marty. And, yeah, I mean, I, I agree with you. It's really, I mean, I think our memoirs—it's just so timely that they're out during this time because it's, you know, it's not just Air India. We've had several incidents within the last several years, actually, that have brought to light the strain in the aviation industry. It's been, it's been really interesting because, as it seems like there's not a day that goes by that there isn't something in the news with regards to plane crashes or plane incidents, near misses, whatever it may be. But as we experience each incident, and it becomes breaking news, and you know, we're witnessing it on live TV, it is, it is hard not to relive the experience. And I'm—I'll speak for myself—it is hard for me not to relive the experience. And in the book, I kind of talk about it because I say that it's kind of like we belong to this group that we never asked to be part of and this group is made of families of the victims of plane crashes. And, you know, the very first images that you see are of the grieving families and the pain and the grief that is stamped on their faces, the shock of it all. Plane crashes are so dramatic and so violent that it's hard not to get caught up in the whole story, and it's hard not to think of the families and want to comfort them, knowing that their hell is just starting, and all the things that they're going to have to go through, you know, with regards to the aftermath, the investigation, recovering their loved ones and their loved ones' belongings. So it is hard, but I try to, I try to focus on hoping that their recovery or their healing—the sooner they face the disaster, the tragedy—their healing can actually start.Jennie NashIt's got to be so hard. We'll, we'll return to all of these topics again. But Marty, you're... what are your thoughts?Marty Ross-DolenI echo what Rossana says about how—first, thank you for having me. It's a pleasure to be here with you. I echo, and I love being here with Rossana, and I echo what she says as well. When I see some sort of headline or announcement that an airplane accident has taken place, my heart sinks. My stomach sinks. I know that I'm going to be in it for a couple of days, if not longer, and nowadays, with social media and the immediacy of information—and for the first time, with this devastating Air India crash, and part of it is because there was a survivor—we have information that we've never had before about the experience of it, and somehow, what came across my news feed on social media as well were videos of the inside of the cabin just before the crash. I don't even know how these were available. I don't even know if they're real because of AI—it's... but then I see that because I can't not see it, and I'm stuck with that in my brain until it goes into that little pocket that contains all those things that we see over our lifetimes that we try never to think about again. So it's hard, it's really hard, and it's really hard to get on an airplane. But that's true for everyone. That's true for everyone, but because, as Rossana describes, we're members of this group, this club that we didn't sign on for, it's probably extra hard.Jennie NashYeah, I want to come back to that "get on an airplane" thing, but just so our listeners can know about the stories that I'm referring to here, we know that you both wrote books, and they're both memoirs, and they're very, very different experiences for the reader—vibes, purposes, feelings, all of those things—and yet they share this plane crash at the center. So I wanted to ask if you would each just give a summary of what your book is about—the title, what it's about—so our readers can know, our listeners can know, what we're talking about. Your readers, our listeners. Rossana, we're kind of in a pattern here, so why don't you go first?Rossana D'AntonioSure. Thanks, Jennie. So my story, my book, is 26 Seconds: Grief and Blame in the Aftermath of Losing My Brother in a Plane Crash. And it's the story of—well, the title says it all, right? So on May 30, 2008, TACA Flight 390 departed from El Salvador International Airport en route to Miami, Florida, with an interim stop in Honduras at one of the most notoriously dangerous airports in the world, Toncontín International Airport. The area was buffeted by Tropical Storm Alma at the time. So there was a lot of wind, a lot of rain, a lot of fog, and when TACA Flight 390 attempted to land on the airport's very short runway, it overshot the runway, crashed into an embankment, and killed five people—three in the plane, including my brother, the pilot, and two in a car that were crushed when the plane landed on them. The book is my search for the truth as to what truly happened on that day. I suspected my brother would be made a scapegoat. Seventy percent of airplane accidents are blamed on the pilot, and so I just suspected that that would be our reality. And so this book is the story about me finding answers to the questions as to what happened that day..Jennie NashAnd in terms of the timeline of this story, when I first met you, you had just begun to write about it. I think it was 10 years. Oh, no, I've got that wrong. How long after the event? You came into a class of mine at UCLA—it was really close to the event.Rossana D'AntonioYeah. So it was February of 2009, so it was a little over six months. So it was still very, very raw.Jennie NashI know the 10 years part is you came back to me 10 years later, having finally wrapped your hands around how you wanted to approach it. So the story as you write it is 10–15 years after the event, looking back on it and all the work that you did to understand this crash and you are uniquely positioned. And I remember thinking about this way back when I first met you. You have a very unique perspective on disaster, and you have a very unique positioning or perspective from which to look at that. Do you want to explain what that is?Rossana D'AntonioSure. So I'm an engineer. I'm a civil engineer, and I worked for over three decades in the public sector at Los Angeles County Public Works. I was over—as I left county service, I was a deputy director over our emergency management business area, and so I was trained to respond to all sorts of different disasters. Our agency managed several pieces of infrastructure, including five different airports. So I was trained to not only plan, design, construct infrastructure, but also to respond to emergencies following not only natural disasters but, you know, human-made disasters. And following these disasters, I was the lead for preparing after-action reports, which essentially describe what happened, what went wrong, what went well, and what lessons learned can we actually take away from these disasters. So that was my background.Jennie NashYeah, it's an incredible connection to this tragic event. So we'll come back to that in a minute. So Marty, tell us about your book.Marty Ross-DolenSure. So my book is entitled Always There, Always Gone: A Daughter's Search for Truth. And in 1960, my grandparents were killed in an airplane accident that was a collision over New York Harbor. Their plane—they had left Columbus, Ohio. They were traveling to New York, and they were on a TWA Super Constellation, and then a United jet that had originated in Chicago was flying in. My grandparents' plane was set for landing in LaGuardia. The United flight was set for landing in Idlewild, which is now JFK Airport. The United plane got off course and collided with my grandparents' plane. My grandparents' plane landed in Staten Island in an empty airfield, and the United flight actually continued for a few miles and landed in Park Slope, Brooklyn, killing people on the ground. So on the planes, there were 128 people who lost their lives, and then six people on the ground in Brooklyn. And because of that horrific situation in Brooklyn, that's where most of the sort of media was focused. There was one survivor who survived for about 24 hours—a boy—but he didn't live. My grandparents were on their way from Columbus to New York to meet for a meeting to talk about their family business, their iconic family magazine Highlights for Children, and they were looking to place the magazine on the newsstands. So they were executives with the company, and this accident was actually the largest commercial jet airplane disaster up until that time in 1960, so it was a pretty well-known, famous accident.Jennie NashSo you two have a very unique connection to that accident, and where you stood when you wrote about it is much further in the future from the crash itself, because your mother, if I remember correctly, was 14 years old at the time.Marty Ross-DolenRight. So my mom was 14. It was six years before I was born, so obviously I didn't know my grandparents. My mom was the second oldest of five, and they moved from Columbus, Ohio, to Austin, Texas, to live with a paternal uncle and his family. And so my book is more about my experience of being raised by a mother who was in protracted mourning after having lost her parents and not had a way to process her grief as an adolescent, and as she got older. So my approach to my book is from that angle primarily, in addition to getting to know my grandmother through her letters, which was a significant goal through the writing process.Jennie NashRight. So you have this reverberation through time of this accident and your connection to the work your grandparents did. You're a writer, you're an editor, you're a person who deals with story, and they were—I mean, I was such a reader of Highlights back in the day—and that, you know, you use the word iconic, you know, probably launched the careers of so many writers and thinkers, and you have a connection through time with that, which is a very unique perspective to have on your story. So you each bring these very different ways of looking at this event. So before we kind of dig into the decisions you each made around how to structure your book, and the tone and shape and all of that, part of the reason we're all talking here today is this, what I think of as a very delightful outcome of these books, which is that you know each other. You've met each other after the books were written. And oftentimes we think, when we're writing something, that well, we think several things: nobody's ever written anything like this, and everybody else has already written this story. What do I have to say? You know, those sort of back-and-forth thoughts that writers often have—Is this unique? Do I have something to add? Do I have something to say? How am I going to serve my readers, or what experience am I going to give to my readers? And then, you know just those pinging back-and-forth thoughts. And it's not very often that we get to actually meet a writer who, at the same time, in the same phase here of publishing, you know, just the same year even, has written something that is similar-ish, you know, about a plane crash, but totally different books. But I just want to ask you each about the meeting of each other and the thinking of that book, and what that's like, because it's so unusual to get to have this kind of conversation. So, you know, I imagine there are lots of things going through your head when you heard about this other book or, you know, I don't know if I have a connection to both of you. I don't know if it came from me or what, but why don't we start this time with you, Marty.Marty Ross-DolenYeah, one of the great joys of this last year has been publishing with the same publisher as Rossana, and for us to get to know each other, because we both published our books with She Writes Press, and we just happened to be in the same cohort of summer 2025. We published in the same month, one week apart. Yeah, yeah. And I remember when we first were introducing ourselves as a group, and Rossana mentioned what her story was about. And my reaction was, is it really true? Is there really another airplane accident story amongst us? Because it is—it's not common. I mean, you don't very often come across people who have lost loved ones this way, and what became clear to me over time was that our books were very, very different. And by the nature of the fact that Rossana lost her beloved brother, who she was very close to, and I lost grandparents I had never met, our stories were just—and there's decades that separate these events—so by those natures, it was clear to me that our books were going to be different. I was excited to read Rossana's book. I was also apprehensive because, for the same reason that I described about when I'm reading about it in the news, it's just hard. But I will say, in reading Rossana's beautiful book, I immediately noticed just kindred spirits with her as a writer. It happened early in the chapters that I was reading. I had used the word lullaby to describe the sound of the engines getting going when you're sitting on a plane and it's about to take off, and sort of the sound of almost a lullaby that will put you to sleep. The person who was working with me as I was writing kept crossing that word out: “That doesn't make sense. Why would you call that a lullaby?” And I wanted it in there. It felt so right. And Rossana described that exact time, those sounds, as a lullaby. It was like; this is something that's just unique about people who have experienced what we've experienced.Jennie NashOh, wow, that's so interesting. Rossana, what about you? Your coming upon Marty's book.Rossana D'AntonioI know. What are the odds, right? I mean, I had never met anyone who had ever experienced a plane crash in their family. As a matter of fact, I'm going to get geeky here, but the U.S. Department of Transportation statistics indicate that one in 2 billion people will die in a plane crash. So what are the odds that, you know, life would bring Marty and I together, that had this connection, not only with the plane crash but also with you, Jennie? I mean some that came out later on. And so I thought, wow, you know, talk about serendipity and, you know, the mysterious ways of life. And although, you know, these are very different stories, I mean, they're connected at their core by a common theme, right? Very similar tragedies. And when I read Marty's book, like she says, there was—I was taken aback because there were many similar passages, you know, how we describe things or how we perceive things. There were a lot of commonalities, even though we came from it from different perspectives, which again reinforces my belief that we're part of this group that we never want to be a part of, and we'll always be connected in one way or another. I think one of the things, though, that was obvious when I read her book was that I connected, I understood, I related to her mom, obviously, right? Her mom was one that had experienced this plane crash, so it was kind of obvious the way it had impacted her, the tragedy, the aftermath, the bottling up of her feelings, PTSD, whatever—all of that I, like, clicked. But I think the most fascinating part of Marty's book was how that grief could be transferred from generation to generation. And I thought that was the fascinating thing that I learned that I really didn't know, and how these tragedies can be prolonged for, you know, generations.Jennie NashYeah, it's—well, first of all, thanks for geeking out because that is a good description of what your book is. You have a lot in your book that is kind of geeky in a—you know, you really get into the aviation industry, into the nuts and bolts of, literally, planes and how they function to the way that governments and reports about accidents function. So when reading your book, people get that layer, which is, you know, you bring to that work. So, geek out all you want. It's great. And Marty's book, by contrast, is this exploration of, you know, you drop a pebble in a pond, and how does it hit the shores? And that very emotional—you know, she had a mother immersed in grief. And what does that do to the child? And then the child's impulse to—I think it's the word search in both of your subtitles, I think it might be, or certainly the concept of it—but that idea of a quest or a journey or, you know, a need to understand. And in Rossana's case, it's what happened on that day. In Marty's case, what happened to my mom? You know, like, what was this thing that happened to my mom? And you're both seeking—that core of both of them. So I want to ask about, because I'm fascinated by this—you know, there's a raw material of a story, and how you make your choices about what the tone of that story is going to be, or the shape and structure of that story, what you want the reader to feel or to experience. Can you both go back to when you knew you were going to write about it? I think that's the first thing, is how did you catch this idea as, "This is a thing I'm going to write about"? Marty, do you want to start with that one?Marty Ross-DolenSure. I started writing after I attended a 50th anniversary memorial event for the airplane accident. And there's a sort of story that leads up to that memorial event and my attending it. But prior to that—which was, so that was 2010—prior to that, I wasn't necessarily inclined to write about it. So after attending this memorial event in 2010, a few months later, I just started telling the story of the memorial and putting some backstory into it, and that ended up being an essay that was about... I don't know, it was a long essay, like, say, 40 pages, but I was told the story was done. Because for those of us that like to use writing and words and language to try to process those things that are sitting—that we're obsessing about or sitting in our minds—I wanted to have done that and be done, because this thing was deeper than anything else that I could excavate in terms of pain in my life. So after I submitted this essay to a class that I was taking at Ohio State—writing, creative writing workshop—and at the end of the semester, the professor said to me that he thought that really what I was doing was writing a book, because there was too much material here and I hadn't done what needed to be done. My stomach sank because I didn't want to write a book. It wasn't—I wanted to be done with this topic. So I took his feedback and all of my workshop peers' feedback, and I stuck it all, the pile of papers, into a cabinet, and it stayed there for 14—well, 10—years.Jennie NashWow!Marty Ross-DolenYeah. And then, during that time, my mother had become the archivist for Highlights, for the family business, and was going through all of the saved artifacts and materials and papers related to the company and the family. And I had always wanted to know my grandmother better. My grandmother is the person I'm named for. I had always known a lot of stories about her, but I asked my mom if she had access to any letters that she might come across in the attics and basements that she was excavating—could I have them? So she started sending them to me. So while I had an essay in the cabinet, I had bins of letters from my grandmother in the basement. And that whole time, anybody who would ask me what I was working on, writing-wise, I'd say, "Well, you know I've got these letters in the basement..." but I never did anything with it. I just couldn't—it was too—everything was too overwhelming. And then what happened for me is that COVID—when the pandemic, you know, 2020, started—became part of our lives. I realized that it was an opportunity for me to pursue an MFA that I had wanted to do for a long time because it was going to be remote. And then I realized I've got time, and I could pull all of this out and see if it was something worth tackling. So that's the story of the decision to write. It was a slow one.Jennie NashWow. Oh, so interesting. And Rossana, well, we heard that you, six months after your brother died, you were in this class trying to learn how to write about it, which, at the time, I didn't quite put together that had been so recent. So when did you decide you were going to write about it? How did you know?Rossana D'AntonioYeah, so, I mean, I didn't set out to write a book. I just started to write. And as you know, as an engineer, I wasn't really trained to be like a memoir writer or writing essays of this type of nature. But I have to give you so much credit, because when I went to your class—and I went out of curiosity to see, well, is anything I'm scribbling down in these journals, is anything really good?—and so your class brought me together with all these other students, and, you know, reading some of the material out loud, all of a sudden, it was a four-day—I don't know if you remember—it was a four-day, one of these four-day intensive classes, and at the end, we're reading our material, and all these strangers are suddenly referring to my brother like they know him, and I recognize that it was because I was somehow relaying his story to them, and I was somehow, maybe through my work or my words, keeping him alive in some way, and that was really transformational for me, because I thought, well, maybe I can do this. And you were very kind. You said that the work was actually pretty good, and then I had some teachers that, you know, added to that. So it started out like, you know, just like playing with words, and then it turned into a grief memoir. That's the… you know, it's evolved greatly. It turned into a grief memoir, which you—I went back to you and you said, “Well, this is great, congratulations, but it's really not marketable, and if you really want to get it out into the world, you're going to have to make some changes.” And so at that point, that's when I decided, all right, I'm going to go ahead and explore. I'm going to go deeper and try to explore the truth about what happened that day. Maybe make it more scientific, more technical; maybe bring in some of the elements that were missing from this memoir. And so along with working with you and working with my editor­— Jodi Fodor—both of you, like within the last few years—I thought I had written it, I thought I was fine, I thought it was done. But then I'd come back to all of you, and you would ask me these probing questions. Perhaps I hadn't developed a scene well enough, or maybe I needed to go deeper. You know, memoir is different than what I was trained to do, and that would send me down this rabbit hole in search of answers to, you know, the questions you were asking, which, by the way, was very annoying because obviously I did not want to come to terms with, you know, the questions that you were asking, because it would, like, get me down into the feeling part of the whole memoir writing. But I did the homework, I came back with answers, and then I realized that memoir is a different animal. And I really felt that your input, your feedback, your questions, your probing, really did make it a lot richer of a story. And even through those seeking answers to the questions that you had brought me to self-discoveries, epiphanies, that perhaps… things that I had bottled up, and that even at the tail end of writing the story, there was still so much more to discover with regards to grief and healing, and which was a lesson to me that I suppose this journey never really ends.Jennie NashOh, I want to defend myself when I said, “This is great, but it's not marketable.” There is such a danger with memoir, particularly memoir around big things, and you both are writing about a big thing, and also particularly around grief, where it's so big in your own head, it takes over your whole mind or life or heart or world, that you assume that everybody else gets it. Right? Like this thing happened, and it's tragic, and in Marty's case, it reverberates through my whole life, and it's so easy to skip over the work of making that story mean something to the reader, and of just sort of resting on the fact that this dramatic thing happened in your family and your life. And there are so many manuscripts like that that when they land on the desk of an agent or the hands of a reader, it's not enough, right? It's not enough. And so that was what I was responding to you. And I know because I got to work with you, and I know from Marty, because I see the result of her finished book, you both did that really hard work, and when I say it's really hard, you just named, Rossana, why it's hard. You have to look at yourself in a way… you know you have to dig in there to things you might not really want to think about. You certainly probably don't want to feel. Do you even want to share them? All of those decisions and choices and ideas. That's what's so hard. And you both put yourself through that process. So I want to ask you each about that—what was it like? So Marty, we'll start with you. In your case, you're digging into these letters, you start then digging into the news, the articles, the pictures, the—you know, all this stuff that your mother never spoke about, and here you're digging, digging, digging. What was that like for you on an emotional level?Marty Ross-DolenAh, it took over my life for a period of time. It was very time-consuming and overwhelming, and nothing about it was easy. I spent a lot of time and tears. I had a tough time sleeping. I did a lot of the work of writing in the middle of the night. In my head, I would wake up in the middle of the night reciting something I had written the day before. It had totally taken over my brain, and fortunately, my mother is very supportive of my work and has been very supportive of the book. And while I was reading the letters—and I read them all, and there are hundreds and hundreds of letters and thousands of pages of them—my mom was available to me to have very long conversations each day through it, because I would want to share something that I read with her, check with her about a story, or she would add and fill in some cracks. And she and I spent a lot of time on the phone crying. We also spent a lot of time laughing, because my grandmother was hilarious, which helped the situation. Her letters were a joy to read. But it really—it's a commitment. It's something that anybody who decides that they're going to take on a project that's going to just sort of open up the wound and create a rawness you're not even familiar with until you're there certainly needs to have established the support system. And I also had my husband, who was incredibly willing to talk about—I mean, he's been talking about this with me and listening for, at this point, for years, but certainly all the time back then, during those days. So it's not pretty, it was hard, but there's nothing about it that doesn't feel like the biggest gift I've ever given myself, because as much as I was trying to avoid it for all those years, there was a reason. I had to do it. I had to go through the process. And also, no question, there's a healing component to writing about something like this, and that reflective writing process, when you do the deep work and try to really dig and let yourself—as Rossana was saying—you know, the annoying stuff that was really like not where you wanted to go, but that is what really changed how it helped me heal in terms of grief, but it really also changed the way I thought about the story and imagined the story, and helped me not look at it through quite as much sadness and even anger, as much as I then was able to look through more of a lens of love at all of it. And I would venture to say that Rossana may have felt that too, because I read her book, and her book is all love. So…Jennie NashYeah, so Rossana, what was that experience of writing like for you?Rossana D'AntonioYeah, well, like Marty said, you know, it was, it did become all-consuming. I became obsessed. For me, though, it was the plane crash, right? The plane crash is the common thread throughout the whole book. And I would venture to say that the crash is a character itself. I like to think of it as the crash is the villain that I battle throughout the story. Everything revolves around it, and it was all-consuming. I analyzed it a million different ways. I deconstructed it. I peeled layer after layer, fact upon fact, trying to get to the core of what truly happened, right? And then I put everything back together, reconstructing it to try to make sense of it all in an effort to find out the truth, with a little bit of fear as to what I may actually find, right? There were no guarantees that I would like what I actually discovered. And as a matter of fact, you know, working with my editor—because I got so ingrained in it, because I got so weedy and geeky and just too technical—you know, she would actually slash dozens of pages, and she said, “I'm not even going to read this because this is not memoir appropriate. You need to do better.” And I think it was at that point where I had that conversation with Jody that the crash evolved from a thing to a character that I could eventually conquer. And like Marty said, there is a healing, and at the end, I actually make peace with this experience. You know, not that I'm all healed, but I make peace with it. There's really nothing I could do. My search was for the truth, and I got the truth, and then I was able to let it go and actually continue to live, because it was so consuming that I wasn't really living until I let it go.Marty Ross-DolenCan I ask, Rossana, do you think that all that writing that you did that got slashed out—do you, because I have writing also that had to be removed—do you feel that that had to be written in order to be removed, in order to get on the other side of it?Rossana D'AntonioOh, that's a good question. I never thought of it that way, but yeah, it could be. I mean, it's part of the quest. It wasn't appropriate for the work that I was working on, but it did highlight facts that I needed to know in order to, like you said, let it go.Marty Ross-DolenYeah, I just think that's interesting, because I have material that didn't end up in the book, but I know I couldn't have written the book if I hadn't written that material. It's just… yeah.Jennie NashSo you both talk about having arrived at a place of peace, or you use the word a “gift to yourself,” Marty. It sounds like during the writing of these books it didn't feel like that… it feels like that now. So why did you keep going when it was so hard? Marty, what would you say to that?Marty Ross-DolenI think because even though it was hard, I was sensing that it was necessary. I was sensing the value of it, and I had just decided that I was committed to it, and I wasn't going to give up. I just had a sense that once I found myself on the other side, I would be in a place that would have made it all worth it.Jennie NashWhat about you, Rossana?Rossana D'AntonioWell, I mean, for me, there are two things. I mean, people who know me know that once I say I'm going to do something, I cannot let it go. So that's one. But the whole purpose of going down this journey was I needed to know what happened. So not knowing what happened was just not an option. I mean, that was the outcome that I was looking for, and there was fear and pain that I knew I was going to take on. But in order to get there, I needed to go through it. So it was just something inevitable. I just knew what I was getting myself into. And I—you know—bring it on.Jennie NashYeah. So I want to ask about the shaping of the stories. You know, there are so many different shapes a story can take. And Rossana, we heard how you started with one type of book, moved into another. You cut this and that. And Marty, you had this incredible amount of primary source material. How did you make a decision? I mean, there are so many questions we could ask here, but I'm going to just focus on the plane crash as part of this discussion. How did you decide where in the story the crash would come—let's call it the scene of the crash—because it appears in very different places in your books, and in some ways, that colors the tone or form or experience for the reader of that book. So, Marty, how did you make that decision? Because the crash comes quite late in your book, where we actually see it. And it struck me when I was reading your book that that was exactly right for your story, because your mother never spoke about it. You didn't know about it. It wasn't a thing you were playing over in your head, and so the not feeling the crash or knowing about the crash was part of the story of it, in a way. So how did you make that decision??Marty Ross-DolenI will say that the essay that I wrote in 2010 that I described as the foundational essay for the book was largely what part five of my book is. So in many ways, I had written the end of the book. That was the first thing I wrote. And then figuring out where to put what was really the largest challenge. And I ultimately started to realize that I knew that I was coming to the book with the goal of not having the book be about my grandparents' death, but having it be about their life, particularly my grandmother's life. And so I wanted to downplay, even though the details of the accident and my discovering it were critical to the story, I wanted to downplay their death, because that's what I was trying to do for myself, because I had grown up my whole life only knowing their death, and that wasn't what I wanted people to know about myself, my mother, or my grandmother. So that was probably the biggest reason that I decided to put it at the end. And then also I put it at the end because I did want to have some buildup. I sensed some value in the reader getting to know the characters well before finding out what actually happened, and I also wanted it to correlate with my own—as you said—my own discovery of the story, which happened later in my life.Jennie NashWell, then there's this—yeah, there's this cool thing that I thought was really cool that happens in your book, which is your grandparents have this magazine, this business, and they make a decision: “Oh, maybe we should see if we could get this in—was it dentist's offices or, you know, doctors' offices waiting rooms?” And then, you know, they're on this plane to try to get it on newsstands. And we know the incredible success that those ideas went on to have in terms of a business. You know, the seeds that they planted bore incredible fruit. And so that part of the story, I thought, was really beautifully handled as well, because we all know what Highlights was and what it became. And then to find out those were their ideas, and then they died. They were not the ones that saw that through. There's something so powerful about that, that their ideas were so strong. They were so prescient. They were, you know, they created this thing that reverberated—there's that word again—through so many people's lives. I thought that was really a beautiful touch to how you placed that plane crash too.Marty Ross-DolenOh, thank you. That's interesting to think of it from that perspective because, in addition to my not wanting the story to be about my grandparents' deaths solely, it was also not meant to be the story of the history of Highlights. It was meant to be who they were. And, you know, it really is more of a focus on my grandmother in relation to the company, but they saved the company. And there were many times in the 1950s when they were struggling to keep it from bankruptcy and the decision—the sort of… actually, it was an epiphany of a salesperson who came up with the idea of selling through doctors' and dentists' offices. But their decision to implement that happened a couple of years before they died, and that's when they actually started to see the company thrive. So they died when the company was thriving, and they were, just as you said, pursuing more. Because the whole Highlights is a mission-driven company. Our whole goal is to have material that will help children become their best selves. So the more children that it touches, the more successful the mission. And so, yes, I mean, it is part of the story as much as maybe I see it as separate. It's just not separate. But making decisions about how much of one thing, you know, is this book supposed to have? I mean, there were people who wanted me to write the history of Highlights more than I did, for sure. There were people who wanted more airplane accident, for sure. And I wanted more of my grandmother, my mother, and me, so…Jennie NashRight.Marty Ross-DolenYeah, it was a balance.Jennie NashRight. Well, you pulled it off beautifully.Marty Ross-DolenThank you.Jennie NashAnd Rossana, in your book, the plane crash literally starts on page one—or even in the title. How did you…? And I feel like it was maybe always that way. Was it always that way? Was that one thing that never changed?Rossana D'AntonioYeah, I was just going to tell you, the book went through a ton of revisions, but the one thing that remained constant was the opening scene, which was the timeline of the 26 seconds that describe touchdown to impact. And I remember reading that in your class early on, and there was a sense of shock from the reception from the other folks in the class, and I knew that that's how I wanted to start the book. I mean, that's the premise that sets everything in motion. So that was the one constant, and I'm pretty proud of that.Jennie NashYeah. I mean, it's really interesting. So we know from the very beginning what happens. And then you circle back to talk about how you learned of the crash, which is a very dramatic story as well. So how did you hold the tension through the rest of the book? When the reader knows what happened, this is not a mystery, then you have to construct the story in such a way to hold the reader—you know, what else are we going to root for or learn or find out? How did you pull that off? Because you did.Rossana D'AntonioWell, the mystery is, you know, what happened? The mystery—I mean, I talk about how the industry had, continues to have, a tendency to blame one individual, which is the pilot, the last person that touches this very complex system that is the aviation industry. And so I kind of made the industry somewhat of a villain. And this quest for me to seek the truth and hopefully to—you know, I suppose the reader wanted me to be right that the industry was somehow to blame. And so that's how I thread the story, in addition to the fact that, you know, there were facts that kind of reinforced my whole premise, right? I mean, the accident report was never—so the accident happened outside of the country. And so here in the United States, the NTSB will always do an investigation and release the report as public information, as a public document. But outside of the country, the accident investigation—although the NTSB and the FAA participated in it—the lead was the Salvadoran Civil Aviation Authority, and they opted not to make that investigation report public. And so to me, that screamed of a conspiracy. So I thread that into the whole story. And, you know, my family gets the report through indirect means, and I'm able to dive into it, and lo and behold, I discover smoking guns in the report that indicate that the industry lied and covered up. And there were conspiracies, which are not—they're not unique to this one accident. And that's the other thing I do in the book, is I bring in parallel accidents here in the United States that reinforce that the industry is a global industry, and that corporate greed is alive and well in this industry as well.Jennie NashYeah, indeed, your book is revelatory that way. And that leads me to a question I want to ask you both, which I'll start with you, Rossana. Given how hard it was to write the story, and to be in it, and to think about it, and how this plane crash dominated your thinking for so long, what do you think about when you step on a plane? Is it hard for you?Rossana D'AntonioWell, there's a little trepidation. Yes, absolutely. Every time I have to fly, there's a thinking in the back of the mind, right? I think I had a conversation with you, Jennie, where we talked about when I crossed the threshold, whether we like it or not, we are relinquishing all sense of control to those people who are flying the plane and to everybody else in the industry who helps support that pilot and co-pilot, and we have to trust that everyone has done their job. And we've discovered with recent incidents that that isn't always true. So, I mean, there are things that I do. I mean, I try to sit in the exit row. From now on, I will be sitting on 11A, you know? And, you know, I do pay attention to the safety message that the flight attendants do before we depart. I think that's a common courtesy. And by the way, you know, a lot of us feel that we're professional flyers, but we've never been tested under the most dire of conditions in an accident, so we just assume we know what to do. But do we really? And hopefully we'll never be, you know, required to put that knowledge into use. I text my husband, “We're leaving now, taking off,” and then when we land, I tell him that we've landed safe and sound, because there's no guarantee, there's no guarantee that we will make it to our destination. I like to believe—you know, we've been conditioned to believe—that flying is the safest mode of travel, and I believe that, I really do. I don't want to dispel that. I don't want to cause fear. But I do also believe that the industry is under tremendous strain. Those two things can be true at the same time. We can't just say, “I'm not going to travel.” That's just not realistic. And so I choose to trust just like my brother trusted the system when he was alive. I choose to trust the system, and we'll leave it at that.Jennie NashI love that. Marty, what about you?Marty Ross-DolenI find, interestingly, I have a lot more anxiety leading up to flying than actually while I'm flying. In the days before, I can't really focus. Part of it is this feeling of needing to get every little thing in order. And it just sort of takes over in my mind. So the thing that I like the least about flying is the days before I actually do it. And then I have a tradition that I insist that anybody flying with me, that I know personally, also take part in, which is that I kiss the plane, kiss my hand, and place it on the outside of the plane. I think that that's super superstitiously protective. And then I actually feel some relief once I'm in my seat that it's going to move forward. And maybe, maybe part of that is that whatever control I've had up to that point, I can let go. But I do, you know, my husband always says it's safer to fly than drive. And I think that that's true. I'm not a great passenger in a car, for sure, but I'm with Rossana. You trust the system, and you have to live, and you can't choose not to travel or not use a mode of transportation. It's just the way our society and lives are. And I guess I feel grateful and fortunate that we have those options. So, yeah.Jennie NashI love that! Kiss the plane. I might start doing that. I cannot recommend both of these books more. They're so beautiful, they're so different. Reading them together would be incredibly powerful if that's something listeners are inclined to do. But just to remind folks, Marty's book is called Always There, Always Gone. Rossana's book is called 26 Seconds. Thank you both for coming on with each other to talk about this unique connection you have to each other and also your individual books. Can you tell folks where they can go to learn more other than the obvious, go-buy-the-book places? Marty, why don't you go first?Marty Ross-DolenSure. Thank you. All of my information—there's a lot to learn through my website, which is martyrossdolen.com. It's M-A-R-T-Y-R-O-S-S-D-O-L-E-N.com, where there's things to learn about Highlights, there's book club questions, there's Q&A's, just lots of things. There are links to things I've done and all places where you can find the book.Jennie NashWe'll link to that in the show notes. It's just a beautiful book about mothers and daughters and grandmothers and history and our place in it, and grief and life and all of it. It's a beautiful read. And Rossana, where can people find your geeky and soulful book about your beautiful brother, Caesar [Captain Cesare D'Antonio], and his love of flying and this tragedy that unfolded and how you made sense of it? Where can they learn more?Rossana D'AntonioYeah, thank you. So my website is rossanadantonio.com—that's R-O-S-S-A-N-A-D-A-N-T-O-N-I-O.com—and you can find all sorts of information there as well.Jennie NashWell, thank you both for talking to me today.Rossana D'AntonioThank you, Jennie. Thank you, Marty.Marty Ross-DolenThank you, Jennie. Thank you, Rossana. It's been a pleasure.Rossana D'AntonioIt's been fun.Jennie NashAnd for our listeners, keep your butt in the chair and your head in the game.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Been thinking about gargantuan projects abuilding at John F. Kennedy International Airport and already completed at LaGuardia Airport in New York City and have concluded that, while well-intentioned, the JFK opus misses the real point about the airport that serves the comings and goings of people that are mostly international fliers to and from the greatest city in the world.     The main roadway in and out of the airport namely The Van Wyck Expressway is an absolute horror show, day and night 24/7 jammed up and jelly tight with traffic of all kinds!

Now, we had not had a major airplane crash in New York City for a long time. So, we were all pretty riveted at that particular time by the scene of the crash of Avianca Flight 52 on Long Island near JFK Airport. More people survived the crash than died in it, thankfully, but it was still a terrible tragedy. There was no fire, because they were apparently out of fuel, and that was a major reason for the crash. We watched, especially in the New York area, the dramatic rescues of survivors; some of them live on television. Of course, because Avianca was the national airline of Columbia, many of the passengers were from Colombia and it was mentioned that en route to the U.S. the plane had landed at a city in Colombia that is known to be the center of drug distribution there. Now, one survivor was really glad that he had survived and he had been rescued, but actually the bad news was not over for him when he was rescued. He was complaining of stomach pains. The hospital x-rayed him and they found dark spots in his intestines. Yeah, you probably guessed it. This injured passenger, it turned out, was smuggling cocaine in plastic bags inside his body. Now, who could have ever predicted when he put that cocaine inside of his body to smuggle it into the U.S. that there would be inclement weather all along the East Coast, they would be in a holding pattern over two hours in the air, there would be a missed attempt at trying to land, the plane would run out of fuel, he would survive a crash, and x-rays would expose his crime? Man, it looked like there was no chance of his getting caught! Actually there's no such thing. I'm Ron Hutchcraft and I want to have A Word With You today about "God's X-Ray Leaves No Secrets." Well, our word for today from the Word of God comes from the book of Numbers 32:23. Some of God's chosen people, the Jews, have a choice here between a risky obedience and an apparently safe disobedience. I say apparently safe! Now, the issue they were dealing with isn't so important today as the advice that Moses gives. He says, "If you fail to do this, you will be sinning against the Lord, and you may be sure that your sin will find you out." I'll bet that's a verse one particular Colombian drug smuggler would agree with, "Be sure your sin will find you out." You know, it's important that you make all of your moral choices realistically. What do I mean? Well, you cannot, and you will not ultimately, get away with sin - ever. If God knows about it, you're already caught! Oh, and He does all the time. That Colombian drug smuggler probably couldn't imagine a way he would be found out. The drugs were totally concealed in his body, but he was found out. You and I will be, too. Oh, you may be able to cover your sin at work, maybe you can conceal it from your mate, and you might be able to fool every Christian leader you know. Maybe you've found a place where you're sure no one will discover what you're doing. Hear God, "You can be sure your sin will find you out." Oh, the Devil will wait until disclosure will do the most harm; hurt the most people. He's letting you get away with it right now. And then one day he'll yank that chain, and he'll wait until it will do the most harm and the most damage. God may wait until the seed of sin reaches the harvest stage, but be assured the bill will come for you. So, make no choices thinking that you can get away with sin. God and the Devil are both a lot smarter than you are. Don't let the delay fool you. God x-rays every passenger, every trip, and His x-ray leaves no secrets.

In this episode of Paranormal Activity, Yvette Fielding is joined once again by friend of the pod Glen Hunt as they take us on a journey to explore the mysterious orbs that have been appearing around the world, objects that seem to defy explanation.From the shimmering metallic orbs in Colombia and Mexico, to the neon orange UFO orbs over JFK Airport, and the white orb emerging from the ocean off the coast of Kuwait, these strange, otherworldly phenomena have raised more questions than answers.Yvette & Glen delve into the recent sightings of these orbs, examining their peculiar characteristics and erratic movements.They'll look at the scientific investigations into these objects, including the examination of a metallic orb discovered in Buga, Colombia in 2024, which has sparked a massive UFO mystery.Additionally, they explore the orb that fell from the sky and crashed into a tree in Veracruz, Mexico in 2022, leaving experts baffled.Yvette and Glen also cover the recent orb sightings at Manchester Airport, JFK, and Kuwait, each sighting offering a new piece to the puzzle of what these strange orbs could be.Are these orbs part of a larger extraterrestrial phenomenon?Could they be advanced human technology?Or do they hold a deeper spiritual or paranormal significance?Tune in as Yvette and Glen investigates the theories, the possible alien connection, and the growing intrigue surrounding these glowing, metallic spheres - objects that seem to be much more than just unusual occurrences in the sky.Join us as we seek to unravel the mystery behind the orb phenomenon and explore what these sightings might mean for our understanding of the paranormal and extraterrestrial life.A Create Podcast Hosted on Acast. See acast.com/privacy for more information.

A 15-year-old carriage horse named Lady collapsed and died on a Hell's Kitchen street Tuesday afternoon. Meanwhile, the Port Authority has broken ground on a new truck parking plaza at JFK Airport to reduce congestion in southeast Queens. Plus, New York City health officials are urging residents in Central Harlem to remain alert for signs of Legionnaires' disease, as the outbreak in the area grows to 67 cases and three deaths. Health Commissioner Dr. Michelle Morse joins us with the latest.

The All Local 4pm Update for Wednesday July 30 2025

In this NBN episode, host Hollay Ghadery speaks with Kay Sohini about her graphic memoir, This Beautiful, Ridiculous City: A Graphic Memoir (published by Ten Speed Graphic, 2025). A vibrant graphic memoir of a woman—an immigrant, a survivor, a writer, a foodie, and, ultimately, an optimist—who rebuilds her life in New York City while recovering from the trauma of an abusive relationship. “An intimate portrait of the city not only as a place of dreams, but as a vital source for healing and self-discovery.”—Nick Sousanis, Eisner Award–winning author of Unflattening On her first night in New York City, Kay Sohini sits on the tarmac of JFK Airport making an inventory of everything she's left behind in India: her family, friends, home, and gaslighting ex-boyfriend. In the wake of that untethering she realizes two things: she's finally made it to the city of her literary heroes—Kerouac, Plath, Bechdel—and the trauma she's endured has created gaping holes in her memory. As Kay begins the work of piecing herself back together she discovers the deep sense of belonging that can only be found on the streets of New York City. In the process she falls beautifully, ridiculously in love with the bustling landscape, and realizes that the places we love do not always love us back but can still somehow save us in weird, unexpected ways. At once heartbreaking and uplifting, This Beautiful, Ridiculous City explores the relationship between trauma and truth, displacement and belonging, and what it means to forge a life of one's own. About Kay Sohini: Kay Sohini is a South Asian researcher, writer, and graphic novelist based in New York. She holds a PhD in English from Stony Brook University and her essays and comics have been featured in The Washington Post, The Nib, and more. Her work focuses on utilizing comics in the scholarly examination of healthcare justice, environmental humanities, resisting disinformation, and creating an equitable future for all. This Beautiful, Ridiculous City is her first book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this NBN episode, host Hollay Ghadery speaks with Kay Sohini about her graphic memoir, This Beautiful, Ridiculous City: A Graphic Memoir (published by Ten Speed Graphic, 2025). A vibrant graphic memoir of a woman—an immigrant, a survivor, a writer, a foodie, and, ultimately, an optimist—who rebuilds her life in New York City while recovering from the trauma of an abusive relationship. “An intimate portrait of the city not only as a place of dreams, but as a vital source for healing and self-discovery.”—Nick Sousanis, Eisner Award–winning author of Unflattening On her first night in New York City, Kay Sohini sits on the tarmac of JFK Airport making an inventory of everything she's left behind in India: her family, friends, home, and gaslighting ex-boyfriend. In the wake of that untethering she realizes two things: she's finally made it to the city of her literary heroes—Kerouac, Plath, Bechdel—and the trauma she's endured has created gaping holes in her memory. As Kay begins the work of piecing herself back together she discovers the deep sense of belonging that can only be found on the streets of New York City. In the process she falls beautifully, ridiculously in love with the bustling landscape, and realizes that the places we love do not always love us back but can still somehow save us in weird, unexpected ways. At once heartbreaking and uplifting, This Beautiful, Ridiculous City explores the relationship between trauma and truth, displacement and belonging, and what it means to forge a life of one's own. About Kay Sohini: Kay Sohini is a South Asian researcher, writer, and graphic novelist based in New York. She holds a PhD in English from Stony Brook University and her essays and comics have been featured in The Washington Post, The Nib, and more. Her work focuses on utilizing comics in the scholarly examination of healthcare justice, environmental humanities, resisting disinformation, and creating an equitable future for all. This Beautiful, Ridiculous City is her first book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In this NBN episode, host Hollay Ghadery speaks with Kay Sohini about her graphic memoir, This Beautiful, Ridiculous City: A Graphic Memoir (published by Ten Speed Graphic, 2025). A vibrant graphic memoir of a woman—an immigrant, a survivor, a writer, a foodie, and, ultimately, an optimist—who rebuilds her life in New York City while recovering from the trauma of an abusive relationship. “An intimate portrait of the city not only as a place of dreams, but as a vital source for healing and self-discovery.”—Nick Sousanis, Eisner Award–winning author of Unflattening On her first night in New York City, Kay Sohini sits on the tarmac of JFK Airport making an inventory of everything she's left behind in India: her family, friends, home, and gaslighting ex-boyfriend. In the wake of that untethering she realizes two things: she's finally made it to the city of her literary heroes—Kerouac, Plath, Bechdel—and the trauma she's endured has created gaping holes in her memory. As Kay begins the work of piecing herself back together she discovers the deep sense of belonging that can only be found on the streets of New York City. In the process she falls beautifully, ridiculously in love with the bustling landscape, and realizes that the places we love do not always love us back but can still somehow save us in weird, unexpected ways. At once heartbreaking and uplifting, This Beautiful, Ridiculous City explores the relationship between trauma and truth, displacement and belonging, and what it means to forge a life of one's own. About Kay Sohini: Kay Sohini is a South Asian researcher, writer, and graphic novelist based in New York. She holds a PhD in English from Stony Brook University and her essays and comics have been featured in The Washington Post, The Nib, and more. Her work focuses on utilizing comics in the scholarly examination of healthcare justice, environmental humanities, resisting disinformation, and creating an equitable future for all. This Beautiful, Ridiculous City is her first book. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

What is this shhh with the title?!Episode notes:Plane forced to return to JFK Airport after horse on board gets loose‘Magical' Roman Wind Chime With Winged Phallus Meant To Ward Off The Evil Eye Discovered In SerbiaAlleged “Mad Pooper” Spokesman Says Pooping In Public Is First Amendment IssueA Real Human Skull Was Just Discovered In The Halloween Section Of A Florida Antique Store85-Year-Old Florida Man Arrested After Trying To Buy A Child In A Grocery Store For $100,000

Man linked to Palm Springs fertility clinic bombing taken into custody at JFK Airport: sources Please Subscribe + Rate & Review KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson wherever you listen! --- KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson is available on the KMJNOW app, Apple Podcasts, Spotify, Amazon Music or wherever else you listen. --- Philip Teresi & E. Curtis Johnson – KMJ’s Afternoon Drive Weekdays 2-6 PM Pacific on News/Talk 580 & 105.9 KMJ DriveKMJ.com | Podcast | Facebook | X | Instagram --- Everything KMJ: kmjnow.com | Streaming | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Man linked to Palm Springs fertility clinic bombing taken into custody at JFK Airport: sources Please Subscribe + Rate & Review KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson wherever you listen! --- KMJ’s Afternoon Drive with Philip Teresi & E. Curtis Johnson is available on the KMJNOW app, Apple Podcasts, Spotify, Amazon Music or wherever else you listen. --- Philip Teresi & E. Curtis Johnson – KMJ’s Afternoon Drive Weekdays 2-6 PM Pacific on News/Talk 580 & 105.9 KMJ DriveKMJ.com | Podcast | Facebook | X | Instagram --- Everything KMJ: kmjnow.com | Streaming | Podcasts | Facebook | X | Instagram See omnystudio.com/listener for privacy information.

Episode 594: Neal and Toby recap the back-and-forth between the Trump administration and the courts attempting to block his sweeping tariffs. Then, a new study shows the number of home sellers outnumber home buyers by a large margin…but why aren't prices coming down? Also, Costco reports a positive earnings as it's able to maintain its low prices amid rising costs.. Meanwhile, a trade theory known as TACO: Trump Always Chickens Out is the Stock of the Week and American policy on international students is the Dog of the Week. Finally, United Airlines is coming back to JFK Airport. Subscribe to Morning Brew Daily for more of the news you need to start your day. Share the show with a friend, and leave us a review on your favorite podcast app. LinkedIn will even give you a $100 credit on your next campaign so you can try it yourself. Go to LinkedIn.com/MBD  Terms and conditions apply. Only on LinkedIn Ads. Listen to Morning Brew Daily Here: https://www.swap.fm/l/mbd-note  Watch Morning Brew Daily Here: https://www.youtube.com/@MorningBrewDailyShow Learn more about your ad choices. Visit megaphone.fm/adchoices

Which stories made the cut for this week's News Round-Up broadcast? Here's a sample from the early minutes of the program: --A man was arrested at JFK Airport in New York on Sunday following an alleged attempt to firebomb a branch office of the U.S. Embassy in Tel Aviv. --The Department of Homeland Security said Wednesday that it had arrested an illegal immigrant who delivered a racially tinged threat to President Trump over his aggressive border and deportation crackdown. --FBI Director Kash Patel said that he has been forced to divert agents to investigate copycats of the potential threats to President Trump as a result of former FBI Director James Comey's 8647 social media post. --Last weekend, dozens of protesters in Wichita, Kansas, clogged the downtown sidewalks chanting James Comey's slogan and not a single person was arrested for threatening President Trump. --Scott Shara is the father of 19 year old Grace Shara who had Downs Syndrome and died in October of 2021. A jury trial (Shara v. Ascension Health) on Monday, June 2 will address the alleged wrongful death of Grace and the results could have broader implications for accountability in U.S. health care. --Hamas has rejected the latest U.S. proposal for a cease-fire and hostage release unless changes are made to the agreement drafted by U.S. Envoy Steve Witkoff. --Iran will not consider temporarily suspending uranium enrichment to secure a nuclear deal with the U.S. --Iranian officials on Thursday met with their Chinese and Russian counterparts to discuss ongoing nuclear negotiations between Tehran and the Trump administration.

Which stories made the cut for this week's News Round-Up broadcast? Here's a sample from the early minutes of the program: --A man was arrested at JFK Airport in New York on Sunday following an alleged attempt to firebomb a branch office of the U.S. Embassy in Tel Aviv. --The Department of Homeland Security said Wednesday that it had arrested an illegal immigrant who delivered a racially tinged threat to President Trump over his aggressive border and deportation crackdown. --FBI Director Kash Patel said that he has been forced to divert agents to investigate copycats of the potential threats to President Trump as a result of former FBI Director James Comey's 8647 social media post. --Last weekend, dozens of protesters in Wichita, Kansas, clogged the downtown sidewalks chanting James Comey's slogan and not a single person was arrested for threatening President Trump. --Scott Shara is the father of 19 year old Grace Shara who had Downs Syndrome and died in October of 2021. A jury trial (Shara v. Ascension Health) on Monday, June 2 will address the alleged wrongful death of Grace and the results could have broader implications for accountability in U.S. health care. --Hamas has rejected the latest U.S. proposal for a cease-fire and hostage release unless changes are made to the agreement drafted by U.S. Envoy Steve Witkoff. --Iran will not consider temporarily suspending uranium enrichment to secure a nuclear deal with the U.S. --Iranian officials on Thursday met with their Chinese and Russian counterparts to discuss ongoing nuclear negotiations between Tehran and the Trump administration.

Send us a textWelcome to Caribbean Adjacent, a brand-new series within the Carry On Friends Podcast! Randy Pulayya is back on the podcast and this time he is with his wife Shauna. They are dynamic husband-and-wife duo behind West Indies Pepper Sauce, From meeting at JFK Airport to blending their Guyanese and Vietnamese-American backgrounds, Randy and Shauna share their journey of embracing each other's traditions, preserving cultural legacies, and raising a new generation proud of both heritages. This episode is filled with heartwarming stories, travel adventures, cultural insights, laughs and, of course, a little spice! Connect with Randy, Shauna + West Indies Peppa Sauce: Website | InstagramSubscribe to the Newsletter Support How to Support Carry On Friends Join the Community:Sign up for one of our paid memberships to access "The After Show", early episode releases, exclusive content and connect with like-minded individuals. JOIN TODAY! Donate:If you believe in our mission and want to help amplify Caribbean voices, consider making a donation. Get Merch:Support Carry On Friends by purchasing merchandise from our store. Connect with @carryonfriends - Instagram | Facebook | YouTube A Breadfruit Media Production

空の移動をもっと身近にしたいと思ってしまった4人のパパたち&1人のリケジョが、夜な夜なこっそり繰り広げる、eVTOL(=空飛ぶクルマ)に対する興味、好奇心、社会実装への情熱を語り合うラジオです。Blade Air Mobility、ニューヨークマンハッタンとJFK空港間の新たなエアモビリティサービスを開始！お値段なんと95ドルから！データでeVTOLの将来にも貢献？ニューヨークが示すアーバンエアモビリティの未来！トランプ大統領がFAA長官を指名！元航空会社CEOのブライアン・ベッドフォード氏とは？人材不足に老朽化...FAAが直面する課題！問われる長官のリーダーシップ！歴代長官ってどんなひと？みんな大好きあの人も？シコルスキーのVTOLドローンがトランジション飛行試験に成功！ヘリコプターモードと固定翼モードの両方で安定した飛行と操作性を確認！シームレスなトランジションで大型VTOL機にも適用？同社のディレクターの名前がなとイゴール・チェレピンスキー？もしやシコルスキー子孫か！？...などなど。気になるeVTOL関連ニュースピックアップです！メッセージはこちらから https://forms.gle/mib37UcseFvpzyGa8関連リンク■Blade Air Mobility Collaborates with Skyports Infrastructure “to Offer Flights Between Downtown Manhattan and JFK Airport”https://evtolinsights.com/2025/03/blade-air-mobility-collaborate-with-skyports-infrastructure-to-offer-flights-between-downtown-manhattan-and-jfk-airport/?utm_source=Electric+VTOL+News&utm_campaign=44f9006326-eVTOL+eNews%2C+Sept+29%2C+2017_COPY_01&utm_medium=email&utm_term=0_5d82db6e49-44f9006326-50787509■Trump picks airline CEO to lead FAA through crash fallout:https://www.politico.com/news/2025/03/17/trump-picks-airline-ceo-lead-faa-crash-fallout-00234448?utm_source=Electric+VTOL+News&utm_campaign=44f9006326-eVTOL+eNews%2C+Sept+29%2C+2017_COPY_01&utm_medium=email&utm_term=0_5d82db6e49-44f9006326-50787509■Sikorsky VTOL drone passes controls and transition flight testing:https://www.aerospacetestinginternational.com/news/sikorsky-vtol-drone-passes-controls-and-transition-flight-testing.htmlSNSリンク ■X/Twitter https://twitter.com/evtolradio

“ Our hospitality starts with education, but it's also having a welcoming point of view.”Scott Young, Founder of SSWING, an innovative indoor golf training facility in New York City, and an expert golfer joins the podcast today to hash out the meaning of hospitality and dive into his business. They discuss the broader meaning of hospitality in various environments, focusing on creating a welcoming yet challenging space to help people improve. The conversation dives into Scott's analytical approach to golf using math and biomechanics, balancing customer comfort with pushing them to new limits. Scott shares insights from his touring days and stories about the honesty and pressure in golf. The episode highlights the importance of process-oriented improvement and maintaining a clear mental focus.Takeaways: Whether it's golf or any other aspect of life, embrace a mindset of continuous improvement and commit to bettering yourself.Aim to have a consistent and clear process for achieving your goals. In golf, this means focusing on your pre-shot routine and execution rather than being overly concerned with the outcome.Utilize technology such as biomechanics assessments, high-speed cameras, and other tools to get precise feedback and improve your performance.Develop mental resilience by practicing staying focused and present in high-pressure situations. This can be beneficial in sports and various other stressful scenarios in life.If appropriate for your business, consider a membership model to build a committed community and create a steady revenue stream.After any performance or practice, reflect honestly on your process and identify areas where you either succeeded or could improve.Use personal stories and experiences, whether from a professional athlete or your own life, to gain insights and inspire your growth journey.Quote of the Show:“  My essence of SSWING is that every single person who walks through our door leaves a better golfer or a better mover.” - Scott YoungLinks:LinkedIn: https://www.linkedin.com/in/scott-young-28b5569/ Website: https://www.sswing.com/ Podcast: https://podcasts.apple.com/us/podcast/pivot-the-path/id1713829364 Shout Outs:3:28 - Rosemary Young https://www.linkedin.com/in/rosemary-k-young-92b4821/ 4:54 - Shinnecock Hills Golf Club https://www.shinnecockhillsgolfclub.org/ 4:55 - Augusta National https://www.masters.com/index.html/ 12:04 - New York University https://www.nyu.edu/ 14:17 - David Kennedy https://www.linkedin.com/in/david-kennedy-03821b3/ 16:46 - British Airways https://www.britishairways.com/travel/classic-home/public/en_us/ 16:56 - JFK Airport https://www.jfkairport.com/ 22:15 - PGA https://www.pgatour.com/ 23:46 - Callaway https://www.callawaygolf.com/ 34:43 - Australian Open https://ausopen.com/ 38:09 - Rory McIlroy https://en.wikipedia.org/wiki/Rory_McIlroy 38:36 - Tiger Woods https://en.wikipedia.org/wiki/Tiger_Woods 39:30 - Jack Nicklaus https://en.wikipedia.org/wiki/Jack_Nicklaus 42:53 - Max Verstappen https://en.wikipedia.org/wiki/Max_Verstappen 42:54: Roger Federer https://en.wikipedia.org/wiki/Roger_Federer 47:42 - US Open https://www.usopen.com/ 

A federal judge in Manhattan has temporarily blocked the Trump administration from fast-tracking migrant deportations in New York without due process, after it used a centuries-old law to expel alleged Venezuelan gang members. Meanwhile, a bird collector who smuggled endangered species through JFK Airport has been fined $900,000 and sentenced to probation. Also, Harlem's Uptown Night Market kicks off its season Thursday with food, music, and local vendors. Plus, in this week's politics brief, the state budget stalemate and Mayor Adams' independent re-election bid are in focus.

Today's guest is Peter Moskos, a professor at John Jay College of Criminal Justice. He spent two years as a police officer in Baltimore. I asked him to come on and talk about his new book, Back from the Brink, Inside the NYPD and New York City's Extraordinary 1990s Crime Drop. It's one of my favorite books I've read this year (and it was one of my three book recommendations on Ezra Klein's show last week).Peter spoke with hundreds of police officers and NYC officials to understand and describe exactly how the city's leaders in the early 1990s managed to drive down crime so successfully.We discussed:* How bad did things get in the 1970s?* Why did processing an arrest take so long?* What did Bill Bratton and other key leaders do differently?* How did police get rid of the squeegee men?I've included my reading list at the bottom of this piece. Thanks to Harry Fletcher-Wood for his judicious transcript edits.Subscribe for one new interview a week.Peter, how would you describe yourself?I would say I'm a criminologist: my background is sociology, but I am not in the sociology department. I'm not so big on theory, and sociology has a lot of theory. I was a grad student at Harvard in sociology and worked as a police officer [in Baltimore] and that became my dissertation and first book, Cop in the Hood. I've somewhat banked my career on those 20 months in the police department.Not a lot of sociologists spend a couple of years working a police beat.It's generally frowned upon, both for methodological reasons and issues of bias. But there is also an ideological opposition in a lot of academia to policing. It's seen as going to the dark side and something to be condemned, not understood.Sociologists said crime can't go down unless we fix society first. It's caused by poverty, racism, unemployment, and social and economic factors — they're called the root causes. But they don't seem to have a great impact on crime, as important as they are. When I'm in grad school, murders dropped 30-40% in New York City. At the same time, Mayor Giuliani is slashing social spending, and poverty is increasing. The whole academic field is just wrong. I thought it an interesting field to get into.We're going to talk about your new book, which is called Back from the Brink, Inside the NYPD and New York City's Extraordinary 1990s Crime Drop. I had a blast reading it. Tell me about the process of writing it.A lot of this is oral history, basically. But supposedly people don't like buying books that are called oral histories. It is told entirely from the perspective of police officers who were on the job at the time. I would not pretend I talked to everyone, because there were 30,000+ cops around, but I spoke to many cops and to all the major players involved in the 1990s crime drop in New York City.I was born in the ‘90s, and I had no idea about a crazy statistic you cite: 25% of the entire national crime decline was attributable to New York City's crime decline.In one year, yeah. One of the things people say to diminish the role of policing is that the crime drop happened everywhere — and it did end up happening almost everywhere. But I think that is partly because what happened in New York City was a lot of hard work, but it wasn't that complicated. It was very easy to propagate, and people came to New York to find out what was going on. You could see results, literally in a matter of months.It happened first in New York City. Really, it happened first in the subways and that's interesting, because if crime goes down in the subways [which, at the time, fell under the separate New York City Transit Police] and not in the rest of the city, you say, “What is going on in the subways that is unique?” It was the exact same strategies and leadership that later transformed the NYPD [New York Police Department].Set the scene: What was the state of crime and disorder in New York in the ‘70s and into the ‘80s?Long story short, it was bad. Crime in New York was a big problem from the late ‘60s up to the mid ‘90s, and the ‘70s is when the people who became the leaders started their careers. So these were defining moments. The city was almost bankrupt in 1975 and laid off 5,000 cops; 3,000 for a long period of time. That was arguably the nadir. It scarred the police department and the city.Eventually, the city got its finances in order and came to the realization that “we've got a big crime problem too.” That crime problem really came to a head with crack cocaine. Robberies peaked in New York City in 1980. There were above 100,000 robberies in 1981, and those are just reported robberies. A lot of people get robbed and just say, “It's not worth it to report,” or, “I'm going to work,” or, “Cops aren't going to do anything.” The number of robberies and car thefts was amazingly high. The trauma, the impact on the city and on urban space, and people's perception of fear, all comes from that. If you're afraid of crime, it's high up on the hierarchy of needs.To some extent, those lessons have been lost or forgotten. Last year there were 16,600 [robberies], which is a huge increase from a few years ago, but we're still talking an 85% reduction compared to the worst years. It supposedly wasn't possible. What I wanted to get into in Back from the Brink was the actual mechanisms of the crime drop. I did about fifty formal interviews and hundreds of informal interviews building the story. By and large, people were telling the same story.In 1975, the city almost goes bankrupt. It's cutting costs everywhere, and it lays off more than 5,000 cops, about 20% of the force, in one day. There's not a new police academy class until 1979, four years later. Talk to me about where the NYPD was at that time.They were retrenched, and the cops were demoralized because “This is how the city treats us?” The actual process of laying off the cops itself was just brutal: they went to work, and were told once they got to work that they were no longer cops. “Give me your badge, give me your gun."The city also was dealing with crime, disorder, and racial unrest. The police department was worried about corruption, which was a legacy of the Knapp Commission [which investigated NYPD corruption] and [Frank] Serpico [a whistleblowing officer]. It's an old police adage, that if you don't work, you can't get in trouble. That became very much the standard way of doing things. Keep your head low, stay out of trouble, and you'll collect your paycheck and go home.You talk about the blackout in 1977, when much of the city lost power and you have widespread looting and arson. 13,000 off-duty cops get called in during the emergency, and only about 5,000 show up, which is a remarkable sign of the state of morale.The person in my book who's talking about that is Louis Anemone. He showed up because his neighbor and friend and partner was there, and he's got to help him. It was very much an in-the-foxholes experience. I contrast that with the more recent blackout, in which the city went and had a big block party instead. That is reflective of the change that happened in the city.In the mid-80s you get the crack cocaine epidemic. Talk to me about how police respond.From a political perspective, that era coincided with David Dinkins as [New York City's first black] mayor. He was universally disliked, to put it mildly, by white and black police officers alike. He was seen as hands off. He was elected in part to improve racial relations in New York City, to mitigate racial strife, but in Crown Heights and Washington Heights, there were riots, and racial relations got worse. He failed at the level he was supposed to be good at. Crime and quality of life were the major issues in that election.Dinkins's approach to the violence is centered around what they called “community policing.” Will you describe how Dinkins and political leaders in the late ‘80s and early ‘90s thought about policing?This is under Ben Ward, the [NYPD] Commissioner at the time. The mayor appoints the police commissioner — and the buck does stop with the mayor — but the mayor is not actively involved in day-to-day operations. That part does go down to the police department.Community policing was seen as an attempt to improve relations between the police and the community. The real goal was to lessen racial strife and unrest between black (and to a lesser extent Hispanic) communities and the NYPD. Going back to the ‘60s, New York had been rocked by continued unrest in neighborhoods like Central Harlem, East New York, and Bushwick. Community policing was seen as saying that police are partly to blame, and we want to improve relations. Some of it was an attempt to get the community more involved in crime fighting.It's tough. It involves a certain rosy view of the community, but that part of the community isn't causing the problems. It avoids the fact there are people who are actively criming and are willing to hurt people who get in their way. Community policing doesn't really address the active criminal element, that is a small part of any community, including high-crime communities.Arrests increased drastically during this era, more than in the ‘90s with broken windows policing. If the idea is to have fewer arrests, it didn't happen in the ‘80s. Some good came out of it, because it did encourage cops to be a bit more active and cops are incentivized by overtime. Arrests were so incredibly time-consuming, which kind of defeated the purpose of community policing. If you made an arrest in that era, there was a good chance you might spend literally 24 hours processing the arrest.Will you describe what goes into that 24 hours?From my experience policing in Baltimore, I knew arrests were time-consuming and paperwork redundant, but I could process a simple arrest in an hour or two. Even a complicated one that involved juveniles and guns and drugs, we're talking six to eight hours.In the ‘80s, Bob Davin, [in the] Transit Police, would say they'd make an arrest, process at the local precinct, search him in front of a desk officer, print him, and then they would have to get a radio car off patrol to drive you down to central booking at 100 Centre Street [New York City Criminal Court]. Then they would fingerprint him. They didn't have the live scan fingerprints machine, it was all ink. It had to be faxed up to Albany and the FBI to see if it hit on any warrant federally and for positive identification of the person. Sometimes it took 12 hours to have the prints come back and the perp would be remanded until that time. Then you'd have to wait for the prosecutor to get their act together and to review all the paperwork. You couldn't consider bail unless the prints came back either positive or negative and then you would have that initial arraignment and the cop could then go home. There are a lot of moving parts, and they moved at a glacial pace.The system often doesn't work 24/7. A lot of this has changed, but some of it was having to wait until 9 am for people to show up to go to work, because it's not a single system. The courts, the jails, and policing all march to their own drummer, and that created a level of inefficiency.So much of the nitty-gritty of what cops actually do is boring, behind-the-scenes stuff: How do we speed up the paperwork? Can we group prisoners together? Can we do some of this at the police station instead of taking it downtown? Is all of this necessary? Can we cooperate with the various prosecutors? There are five different prosecutors in New York City, one for each borough.There's not a great incentive to streamline this. Cops enjoyed the overtime. That's one of the reasons they would make arrests. So during this time, if a cop makes an arrest for drug dealing, that cop is gone and no cop was there to replace him. If it's a minor arrest, there's a good chance in the long run charges will be dropped anyway. And you're taking cops off the street. In that sense, it's lose-lose. But, you have to think, “What's the alternative?”Bob Davin is a fascinating guy. There's a famous picture from 1981 by Martha Cooper of two cops on a subway train. It's graffitied up and they're in their leather jackets and look like cops from the ‘70s. Martha Cooper graciously gave me permission to use the picture, but she said, "You have to indemnify me because I don't have a release form. I don't know who the cops are." I said, "Martha, I do know who the cop is, because he's in my book and he loves the picture.” Bob Davin is the cop on the right.Davin says that things started to get more efficient. They had hub sites in the late ‘80s or ‘90s, so precincts in the north of Manhattan could bring their prisoners there, and you wouldn't have to take a car out of service to go back to Central Booking and deal with traffic. They started collecting prisoners and bringing them en masse on a small school bus, and that would cut into overtime. Then moving to electronic scan fingerprints drastically saves time waiting for those to come back.These improvements were made, but some of them involve collective bargaining with unions, to limit overtime and arrests that are made for the pure purpose of overtime. You want cops making arrests for the right reason and not simply to make money. But boy, there was a lot of money made in arrests.In 1991, you have the infamous Crown Heights riot in Brooklyn. Racial tensions kick off. It's a nightmare for the mayor, there's this sense that he has lost control. The following year, you have this infamous police protest at City Hall where it becomes clear the relationship between the cops and the mayor has totally evaporated. How does all that play into the mayoral race between Dinkins and Giuliani?It was unintentional, but a lot of the blame for Crown Heights falls on the police department. The part of the story that is better known is that there was a procession for a Hasidic rabbi that was led by a police car. He would go to his wife's grave, and he got a little three-car motorcade. At some point, the police look at this and go "Why are we doing this? We're going to change it." The man who made the deal said ‘I"m retiring in a couple weeks, can we just leave it till then? Because I gave him my word." They're like, "Alright, whatever."This motor car procession is then involved in a car crash, and a young child named Gavin Cato is killed, and another girl is severely injured. The volunteer, Jewish-run ambulance shows up and decides they don't have the equipment: they call for a professional city ambulance. Once that ambulance is on the way, they take the mildly-injured Jewish people to the hospital. The rumor starts that the Jewish ambulance abandoned the black children to die.This isn't the first incident. There's long been strife over property and who the landlord is. But this was the spark that set off riots. A young Jewish man was randomly attacked on the street and was killed.As an aside, he also shouldn't have died, but at the hospital they missed internal bleeding.Meanwhile, the police department has no real leadership at the time. One chief is going to retire, another is on vacation, a third doesn't know what he's doing, and basically everyone is afraid to do anything. So police do nothing. They pull back, and you have three days of very anti-Semitic riots. Crowds chanting "Kill the Jews" and marching on the Lubavitch Hasidic Headquarters. Al Sharpton shows up. The riots are blamed on Dinkins, which is partly fair, but a lot of that's on the NYPD. Finally, the mayor and the police commissioner go to see what's going on and they get attacked. It's the only time in New York City history that there's ever been an emergency call from the police commissioner's car. People are throwing rocks at it.It took three days to realise this, but that's when they say “We have to do something here,” and they gather a group of officers who later become many of Bratton's main chiefs at the time [Bill Bratton was Commissioner of the NYPD from 1994-1996, under Giuliani]: Mike Julian, Louis Anemone, Ray Kelly, and [John] Timoney. They end the unrest in a day. They allow people to march, they get the police department to set rules. It still goes on for a bit, but no one gets hurt after that, and that's it.It was a huge, national story at the time, but a lot of the details were not covered. Reporters were taken from their car and beaten and stripped. The significance was downplayed at the time, especially by the New York Times, I would say.That's followed by the Washington Heights riots, which is a different story. A drug dealer was shot and killed by cops. There were rumors, which were proven to be false, that he was executed and unarmed. Then there were three days of rioting there. It wasn't quite as severe, but 53 cops were hurt, 120 stores were set on fire, and Mayor Dinkins paid for the victim's family to go to the Dominican Republic for the funeral. The police perspective again was, “You're picking the wrong side here.”Then there's the so-called Police Riot at City Hall. Nominally, it was about the CCRB, the Civilian Complaint Review Board, and setting up an accountability mechanism to control cops. But really it was just an anti-Dinkins protest. It was drunken and unruly. The cops stormed the steps of City Hall. I have the account of one of the cops who was on the top of those steps looking at this mob of cops storming to him, and he's getting worried he's going to be killed in a crush. There were racist chants from off-duty cops in the crowd. It did not reflect well on police officers. But it showed this hatred of David Dinkins, who was seen as siding with criminals and being anti-police. The irony is that Dinkins is the one who ends up hiring all the cops that Giuliani gets credit for.In the “Safe Streets, Safe City” program?Yes. That was because a white tourist, Brian Watkins, was killed in a subway station protecting his parents who were getting robbed. That led to the famous headline [in the New York Post] of “Dave, do something! Crime-ravaged city cries out for help.” He, with City Council President Peter Vallone, Sr., drafted and pushed through this massive hiring of police officers, “Safe Streets, Safe City.”The hiring wasn't fast-tracked. It might be because Dinkins's people didn't really want more cops. But it was a Dinkins push that got a massive hiring of cops. When the first huge class of police officers graduated, Bill Bratton was there and not David Dinkins.Some interviewees in your book talk about how there's physically not enough room in the police academies at this time, so they have to run classes 24/7. You cycle cohorts in and out of the same classroom, because there are too many new cops for the facilities.You have thousands of cops going through it at once. Everyone describes it as quite a chaotic scene. But it would have been hard to do what the NYPD did without those cops. Ray Kelly, who was police commissioner under Dinkins at the end [from 1992 to 1994] before he became police commissioner for 12 years under Bloomberg [from 2002 to 2013] probably could have done something with those cops too, but he never had the chance, because the mayoral leadership at the time was much more limiting in what they wanted cops to do.Crime starts declining slowly in the first few years of the ‘90s under Dinkins, and then in ‘93 Giuliani wins a squeaker of a mayoral election against Dinkins.One of the major issues was the then-notorious “squeegee men” of New York City. These were guys who would go to cars stopped at bridges and tunnel entrances and would rub a squeegee over the windshield asking for money. It was unpleasant, intimidating, and unwanted, and it was seen as one of those things that were just inevitable. Like graffiti on the subway in the ‘80s. Nothing we can do about it because these poor people don't have jobs or housing or whatever.The irony is that Bratton and Giuliani were happy to take credit for that, and it was an issue in the mayoral campaign, but it was solved under David Dinkins and Ray Kelly and Mike Julian with the help of George Kelling [who, with James Wilson, came up with broken windows theory]. But they never got credit for it. One wonders if, had they done that just a few months earlier, it would have shifted the entire campaign and we'd have a different course of history in New York City.It's a great example of a couple of things that several people in your book talk about. One is that disorder is often caused by a very small set of individuals. There's only like 70 squeegee men, yet everybody sees them, because they're posted up at the main tunnel and bridge entrances to Manhattan. And getting them off the streets solves the problem entirely.Another emphasis in the book is how perceptions of crime are central. You quote Jack Maple, the father of Compstat, as saying, “A murder on the subway counts as a multiple murder up on the street, because everybody feels like that's their subway.” The particular locations of crimes really affect public perception.Absolutely. Perception is reality for a lot of these things, because most people aren't victimized by crime. But when people perceive that no one is in control they feel less safe. It's not that this perception is false, it just might not be directly related to an actual criminal act.The other thing I try to show is that it's not just saying, “We've got to get rid of squeegee men. How do you do it?” They had tried before, but this is why you need smart cops and good leadership, because it's a problem-solving technique, and the way to get rid of graffiti is different to the way you get rid of squeegee men.This book is in opposition to those who just say, “We can't police our way out of this problem.” No, we can. We can't police our way out of every problem. But if you define the problem as, we don't want people at intersections with squeegees, of course we can police our way out of the problem, using legal constitutional tools. You need the political will. And then the hard work starts, because you have to figure out how to actually do it.Will you describe how they tackle the squeegee men problem?Mike Julian was behind it. They hired George Kelling, who's known for broken windows. They said, “These people are here to make money. So to just go there and make a few arrests isn't going to solve the problem.” First of all, he had to figure out what legal authority [to use], and he used Traffic Reg 44 [which prohibits pedestrians from soliciting vehicle occupants]. He talked to Norm Siegel of the NYCLU [New York Civil Liberties Union] about this, who did not want this crackdown to happen. But Norman said, “Okay, this is the law, I can't fight that one. You're doing it legally. It's all in the books.” And So that took away that opposition.But the relentless part of it is key. First they filmed people. Then, when it came to enforcement, they warned people. Then they cited people, and anybody that was left they arrested. They did not have to arrest many people, because the key is they did this every four hours. It was that that changed behavior, because even a simple arrest isn't going to necessarily deter someone if it's a productive way to make money. But being out there every four hours for a couple of weeks or months was enough to get people to do something else. What that something else is, we still don't know, but we solved the squeegee problem.So in 93, Giuliani is elected by something like 50,000 votes overall. Just as an aside, in Prince of the City, Fred Siegel describes something I had no idea about. There's a Puerto Rican Democratic Councilman who flips and supports Giuliani. Mayor Eric Adams, who at the time was the head of a nonprofit for black men in law enforcement, calls him a race traitor for doing that and for being married to a white woman. There was a remarkable level of racial vitriol in that race that I totally missed.10 years ago when I started this, I asked if I could interview then-Brooklyn borough president Eric Adams, and he said yes, and the interview kept getting rescheduled, and I said, “Eh, I don't need him.” It's a regret of mine. I should have pursued that, but coulda, woulda, shoulda.Giuliani is elected, and he campaigns very explicitly on a reducing crime and disorder platform. And he hires Bill Bratton. Tell me about Bratton coming on board as NYPD commissioner.Bratton grew up in Boston, was a police officer there, became head of the New York City Transit Police when that was a separate police department. Right before he becomes NYPD Commissioner, he's back in Boston, as the Chief of Police there, and there is a movement among certain people to get Bratton the NYC job. They succeed in that, and Bratton is a very confident man. He very much took a broken windows approach and said, “We are going to focus on crime.” He has a right-hand man by the name of Jack Maple who he knows from the Transit Police. Maple is just a lieutenant in transit, and Bratton makes him the de facto number two man in the police department.Jack Maple passed away in 2001 and I didn't know what I was going to do, because it's hard to interview a man who's no longer alive. Chris Mitchell co-wrote Jack Maple's autobiography called Crime Fighter and he graciously gave me all the micro-cassettes of the original interviews he conducted with Maple around 1998. Everyone has a Jack Maple story. He's probably the most important character in Back from the Brink.Jack Maple comes in, no one really knows who he is, no one respects him because he was just a lieutenant in Transit. He goes around and asks a basic question — this is 1994 — he says, “How many people were shot in New York City in 1993?” And nobody knows. That is the state of crime-fighting in New York City before this era. There might have been 7,000 people shot in New York City in 1990 and we just don't know, even to this day.One citation from your book: in 1993, an average of 16 people were shot every day. Which is just remarkable.And remember, shootings have been declining for two or three years before that! But nobody knew, because they weren't keeping track of shootings, because it's not one of the FBI Uniform Crime Report [which tracks crime data nationally] index crimes. But wouldn't you be curious? It took Jack Maple to be curious, so he made people count, and it was findable, but you had to go through every aggravated assault and see if a gun was involved. You had to go through every murder from the previous year and see if it was a shooting. He did this. So we only have shooting data in New York City going back to 1993. It's just a simple process of caring.The super-short version of Back from the Brink is it was a change in mission statement: “We're going to care about crime.” Because they hadn't before. They cared about corruption, racial unrest, brutality, and scandal. They cared about the clearance rate for robbery a bit. You were supposed to make three arrests for every ten robberies. It didn't matter so much that you were stopping a pattern or arresting the right person, as long as you had three arrests for every ten reported crimes, that was fine.This is a story about people who cared. They're from this city — Bratton wasn't, but most of the rest are. They understood the trauma of violence and the fact that people with families were afraid to go outside, and nobody in the power structure seemed to care. So they made the NYPD care about this. Suddenly, the mid-level police executives, the precinct commanders, had to care. and the meetings weren't about keeping overtime down, instead they were about ”What are you doing to stop this shooting?”Tell listeners a little bit more about Jack Maple, because he's a remarkable character, and folks may not know what a kook he was.I think he was a little less kooky than he liked to present. His public persona was wearing a snazzy cat and spats and dressing like a fictional cartoon detective from his own mind, but he's a working-class guy from Queens who becomes a transit cop.When Bratton takes over, he writes a letter up the chain of command saying this is what we should do. Bratton read it and said, “This guy is smart.” Listening to 80 hours of Jack Maple, everyone correctly says he was a smart guy, but he had a very working-class demeanor and took to the elite lifestyle. He loved hanging out and getting fancy drinks at the Plaza Hotel. He was the idea man of the NYPD. Everyone has a Jack Maple imitation. “You're talking to the Jackster,” he'd say. He had smart people working under him who were supportive of this. But it was very much trying to figure out as they went along, because the city doesn't stop nor does it sleep.He was a bulls***er, but he's the one who came up with the basic outline of the strategy of crime reduction in New York City. He famously wrote it on a napkin at Elaine's, and it said, “First, we need to gather accurate and timely intelligence.” And that was, in essence, CompStat. “Then, we need to deploy our cops to where they need to be.” That was a big thing. He found out that cops weren't working: specialized units weren't working weekends and nights when the actual crime was happening. They had their excuses, but basically they wanted a cushy schedule. He changed that. Then, of course, you have to figure out what you're doing, what the effective tactics are. Then, constant follow up and assessment.You can't give up. You can't say “Problem solved.” A lot of people say it wasn't so much if your plan didn't work, you just needed a Plan B. It was the idea that throwing your hands in the air and saying, “What are you going to do?” that became notoriously unacceptable under Chief Anemone's stern demeanor at CompStat. These were not pleasant meetings. Those are the meetings that both propagated policies that work and held officers accountable. There was some humiliation going on, so CompStat was feared.Lots of folks hear CompStat and think about better tracking of crime locations and incidents. But as you flesh out, the meat on the bones of CompStat was this relentless follow-up. You'd have these weekly meetings early in the morning with all the precinct heads. There were relentless asks from the bosses, “What's going on in your district or in your precinct? Can you explain why this is happening? What are you doing to get these numbers down?” And follow-ups the following week or month. It was constant.CompStat is often thought of as high-tech computer stuff. It wasn't. There was nothing that couldn't have been done with old overhead projectors. It's just that no one had done it before. Billy Gorta says it's a glorified accountability system at a time when nobody knew anything about computers. Everyone now has access to crime maps on a computer. It was about actually gathering accurate, timely data.Bratton was very concerned that these numbers had to be right. It was getting everyone in the same room and saying, “This is what our focus is going to be now.” And getting people to care about crime victims, especially when those crime victims might be unsympathetic because of their demeanor, criminal activity, or a long arrest record. “We're going to care about every shooting, we're going to care about every murder.”Part of it was cracking down on illegal guns. There were hundreds of tactics. The federal prosecutors also played a key role. It was getting this cooperation. Once it started working and Giuliani made it a major part of claiming success as mayor, suddenly everyone wanted to be part of this, and you had other city agencies trying to figure it out. So it was a very positive feedback loop, once it was seen as a success.When Bratton came on the job, he said, “I'm going to bring down crime 15%.” No police commissioner had ever said that before. In the history of policing before 1994, no police commissioner ever promised a double-digit reduction in crime or even talked about it. People said “That's crazy.” It was done, and then year after year. That's the type of confidence that they had. They were surprised it worked as well as it did, but they all had the sense that there's a new captain on this ship, and we're trying new things. It was an age of ideas and experiment.And it was a very short time.That's the other thing that surprised me. Giuliani fired Bratton in the middle of ‘96.It's remarkable. Bratton comes in ‘94, and August 1994 is where you see crime drop off a cliff. You have this massive beginning of the reduction that continues.That inflection point is important for historical knowledge. I don't address alternatives that other people have proposed [to explain the fall in crime] — For example, the reduction in lead [in gasoline, paint, and water pipes] or legalized abortion with Roe v. Wade [proposed by Stephen Dubner].Reasonable people can differ. Back from the Brink focuses on the police part of the equation. Today, almost nobody, except for a few academics, says that police had nothing to do with the crime drop. That August inflection is key, because there is nothing in a lagged time analysis going back 20 years that is going to say that is the magic month where things happened. Yet if you look at what happened in CompStat, that's the month they started getting individual officer data, and noticing that most cops made zero arrests, and said, “Let's get them in the game as well.” And that seemed to be the key; that's when crime fell off the table. The meetings started in April, I believe, but August is really when the massive crime drop began.To your point about the confidence that crime could be driven down double digits year over year, there's a great quote you have from Jack Maple, where he says to a fellow cop, “This is going to be like shooting fish in a barrel. As long as we have absolute control, we can absolutely drive this number into the floor.”One detail I enjoyed was that Jack Maple, when he was a transit cop, would camp out under a big refrigerator box with little holes cut out for eyes and sit on the subway platform waiting for crooks.For people who are interested in Jack Maple, it is worth reading his autobiography, Crime Fighter. Mike Daly wrote New York's Finest, which uses the same tapes that I had access to, and he is much more focused on that. He's actually the godfather of Jack Maple's son, who is currently a New York City police officer. But Maple and co were confident, and it turned out they were right.As well as having changes in tactics and approach and accountability across the NYPD, you also have a series of specific location cleanups. You have a specific initiative focused on the Port Authority, which is a cesspool at the time, an initiative in Times Square, the Bryant Park cleanup, and then Giuliani also focuses on organized crime on the Fulton Fish Market, and this open-air market in Harlem.I was struck that there was both this general accountability push in the NYPD through CompStat, and a relentless focus on cleaning up individual places that were hubs of disorder.I'm not certain the crime drop would have happened without reclamation of public spaces and business improvement districts. Bryant Park's a fascinating story because Dan Biederman, who heads the Corporation, said, “People just thought it was like a lost cause, this park can't be saved. The city is in a spiral of decline.” He uses Jane Jacobs' “eyes on the street” theory and then George Kelling and James Q. Wilson's broken windows theory. The park has money — not city money, but from local property owners — and it reopens in 1991 to great acclaim and is still a fabulous place to be. It showed for the first time that public space was worth saving and could be saved. New York City at the time needed that lesson. It's interesting that today, Bryant Park has no permanent police presence and less crime. Back in the ‘80s, Bryant Park had an active police presence and a lot more crime.The first class I ever taught when I started at John Jay College in 2004, I was talking about broken windows. A student in the class named Jeff Marshall, who is in my book, told me about Operation Alternatives at the Port Authority. He had been a Port Authority police officer at the time, and I had not heard of this. People are just unaware of this part of history. It very much has lessons for today, because in policing often there's nothing new under the sun. It's just repackaged, dusted off, and done again. The issue was, how do we make the Port Authority safe for passengers? How do we both help and get rid of people living in the bus terminal? It's a semi-public space, so it makes it difficult. There was a social services element about it, that was Operational Alternatives. A lot of people took advantage of that and got help. But the flip side was, you don't have to take services, but you can't stay here.I interviewed the manager of the bus terminal. He was so proud of what he did. He's a bureaucrat, a high-ranking one, but a port authority manager. He came from the George Washington Bridge, which he loved. And he wonders, what the hell am I going to do with this bus terminal? But the Port Authority cared, because they're a huge organization and that's the only thing with their name on it — They also control JFK Airport and bridges and tunnels and all the airports, but people call the bus terminal Port Authority.They gave him almost unlimited money and power and said, “Fix it please, do what you've got to do,” and he did. It was environmental design, giving police overtime so they'd be part of this, a big part of it was having a social service element so it wasn't just kicking people out with nowhere to go.Some of it was also setting up rules. This also helped Bratton in the subway, because this happened at the same time. The court ruled that you can enforce certain rules in the semi-public spaces. It was not clear until this moment whether it was constitutional or not. To be specific, you have a constitutional right to beg on the street, but you do not have a constitutional right to beg on the subway. That came down to a court decision. Had that not happened, I don't know if in the long run the crime drop would have happened.That court decision comes down to the specific point that it's not a free-speech right on the subway to panhandle, because people can't leave, because you've got them trapped in that space.You can't cross the street to get away from it. But it also recognized that it wasn't pure begging, that there was a gray area between aggressive begging and extortion and robbery.You note that in the early 1990s, one-third of subway commuters said they consciously avoided certain stations because of safety, and two thirds felt coerced to give money by aggressive panhandling.The folks in your book talk a lot about the 80/20 rule applying all over the place. That something like 20% of the people you catch are committing 80% of the crimes.There's a similar dynamic that you talk about on the subways, both in the book and in your commentary over the past couple years about disorder in New York. You say approximately 2,000 people with serious mental illness are at risk for street homelessness, and these people cycle through the cities, streets, subways, jails, and hospitals.What lessons from the ‘90s can be applied today for both helping those people and stopping them being a threat to others?Before the ‘80s and Reagan budget cuts there had been a psychiatric system that could help people. That largely got defunded. [Deinstitutionalization began in New York State earlier, in the 1960s.] We did not solve the problem of mental health or homelessness in the ‘90s, but we solved the problem of behavior. George Kelling [of broken windows theory] emphasized this repeatedly, and people would ignore it. We are not criminalizing homelessness or poverty. We're focusing on behavior that we are trying to change. People who willfully ignore that distinction almost assume that poor people are naturally disorderly or criminal, or that all homeless people are twitching and threatening other people. Even people with mental illness can behave in a public space.Times have changed a bit. I think there are different drugs now that make things arguably a bit worse. I am not a mental health expert, but we do need more involuntary commitment, not just for our sake, but for theirs, people who need help. I pass people daily, often the same person, basically decomposing on a subway stop in the cold. They are offered help by social services, and they say no. They should not be allowed to make that choice because they're literally dying on the street in front of us. Basic humanity demands that we be a little more aggressive in forcing people who are not making rational decisions, because now you have to be an imminent threat to yourself or others. That standard does need to change. But there also need to be mental health beds available for people in this condition.I don't know what the solution is to homelessness or mental health. But I do know the solution to public disorder on the subway and that's, regardless of your mental state or housing status, enforcing legal, constitutional rules, policing behavior. It does not involve locking everybody up. It involves drawing the line between acceptable and unacceptable behavior. It's amazing how much people will comply with those rules.That presents the idea that someone's in charge, it's not a free-for-all. You get that virtuous loop, which New York had achieved in 2014–2016, when crime was at an all-time low in the city. Then the politicians decided public order wasn't worth preserving anymore. These are political choices.I had a similar version of this conversation with a friend who was shocked that there were zero murders on the subway in 2017 and that that number was stable: you had one or two a year for several years in the mid-2010s.It was five or fewer a year from 1997 to 2019, and often one or two. Then you have zero in 2017. There were [ten in 2022]. It coincides perfectly with an order from [Mayor] de Blasio's office and the homeless czar [Director of Homeless Services Steven] Banks [which] told police to stop enforcing subway rules against loitering. The subways became — once again — a de facto homeless shelter. Getting rule-violating homeless people out of the subway in the late ‘80s was such a difficult and major accomplishment at the time, and to be fair it's not as bad as it was.The alternative was that homeless outreach was supposed to offer people services. When they decline, which 95% of people do, you're to leave them be. I would argue again, I don't think that's a more humane stance to take. But it's not just about them, it's about subway riders.There's one story that I think was relevant for you to tell. You were attacked this fall on a subway platform by a guy threatening to kill you. It turns out he's had a number of run-ins with the criminal justice system. Can you tell us where that guy is now?I believe he's in prison now. The only reason I know who it is is because I said, one day I'm going to see his picture in the New York Post because he's going to hurt somebody. Am I 100 percent certain it's Michael Blount who attacked me? No, but I'm willing to call him out by name because I believe it is. He was out of prison for raping a child, and he slashed his ex-girlfriend and pushed her on the subway tracks. And then was on the lam for a while. I look at him and the shape of his face, his height, age, build, complexion, and I go, that's got to be him.I wasn't hurt, but he gave me a sucker punch trying to knock me out and then chased me a bit threatening to kill me, and I believe he wanted to. It's the only time I ever was confronted by a person who I really believe wanted to kill me, and this includes policing in the Eastern District in Baltimore. It was an attempted misdemeanor assault in the long run. But I knew it wasn't about me. It was him. I assume he's going to stay in prison longer for what he did to his ex-girlfriend. But I never thought it would happen to me. I was lucky the punch didn't connect.Peter Moskos's new book is Back from the Brink, Inside the NYPD and New York City's Extraordinary 1990s Crime Drop.My reading listEssays:Johnny Hirschauer's reporting, including “A Failed 'Solution' to 'America's Mental Health Crisis',“ “Return to the Roots,” and “The Last Institutions.” “Broken Windows: The Police and Neighborhood Safety,” by George L. Kelling and James Q. Wilson. ​“It's Time to Talk About America's Disorder Problem,” Charles Lehman.Books:Ghettoside: A True Story of Murder in America, Jill Leovy.​Prince of the City: Giuliani, New York, and the Genius of American Life, Fred Siegel.​ Cop in the Hood: My Year Policing Baltimore's Eastern District, Peter Moskos.​Dreamland: The True Tale of America's Opiate Epidemic, Sam Quinones.​Bonfire of the Vanities, Tom Wolfe. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.statecraft.pub

//The Wire//2300Z March 20, 2025////ROUTINE////BLUF: UNREST CONTINUES IN TURKEY. FBI AGENT ARRESTED FOR DISCLOSURE OF CLASSIFIED INFORMATION. ATTACKS ON TESLAS CONTINUE TO SPREAD.// -----BEGIN TEARLINE------International Events-Turkey: Mass demonstrations have continued throughout the nation following the arrest of political dissidents leading up to an election.-HomeFront-USA: Attacks and vandalism efforts continue against Tesla vehicles and dealerships. Most targeting efforts have taken place in California and major cities around the nation where Tesla ownership is common. So far, the DoJ has announced charges for three individuals who have been arrested for their attacks at various sites around the nation.New York: An FBI agent was arrested last night on charges of disclosing classified information. Johnathan Buma was arrested at the departure terminal of JFK Airport while attempting to board an international flight. He was arrested due to allegedly possessing classified documents for an autobiography he was writing.Michigan: A shooting was reported at the Corewell Health Beaumont Troy Hospital in Macomb County. One assailant (who was an employee of the hospital) shot a fellow employee in the parking garage, which resulted in a brief standoff before being arrested. The victim has been hospitalized and is in stable condition. Local authorities have stated that this was a personal dispute between two employees that escalated into the shooting incident.-----END TEARLINE-----Analyst Comments: How bad the situation is in Turkey is hard to determine at the moment. This could be the latest mysteriously-funded color revolution to strike a regional power, or it could just be standard Turkish politics.So far, most of the protesting and demonstrations have remained relatively benign by Turkish standards, and only a limited heavy-handedness has been observed by authorities seeking to retain order. As is common around the world, most of those protesting are students, who are upset about the arrest of Erdogan's political opposition.Analyst: S2A1Research: https://publish.obsidian.md/s2underground//END REPORT//

A Columbia University graduate student and activist who helped lead campus protests has been arrested by immigration authorities. Meanwhile, residents near JFK Airport say illegally parked commercial vehicles are overwhelming their neighborhoods. Plus, city and state lawmakers are working to pass legislation that would expand access to gender-affirming care for transgender, non-binary, and intersex individuals.

A new Siena College poll shows nearly half of New York voters have an unfavorable view of Gov. Kathy Hochul. Plus, residents who live near JFK Airport say their neighborhoods are inundated with illegally parked trucks and other commercial vehicles. Also, the latest from a busy campaign weekend for those in the race for New York City mayor. And finally, students in New York City Public Schools share projects that encourage them to use their voices to advocate for changes in their communities.

Learn more at TheCityLife.org

A critical theme for 2025 and beyond rebuilding the US physical economy with the Infrastructure, Investment and Jobs Act, and other policy measures, there's a renewed focus on enhancing infrastructure, reshoring manufacturing and addressing the housing supply gap. These efforts are not just about construction and development. They're about revitalizing the US economy and creating sustainable economic growth. Joining Oscar is Jay Jacobs, US head of Thematic and Active ETFs at BlackRock. Jay will provide insights into the demographic trends influencing the housing market, the reshoring of manufacturing, and the bipartisan support for these developmentsSources: New York Governor. "Governor Hochul Announces $54 Million in State Funding to Support the Second Avenue Subway Project." 7/30/2024; Reuters. "JFK Airport's massive overhaul takes winding route through debt markets." 12/6/23; Department of Transportation. "Hudson River Tunnel Project between New York and New Jersey." July 2024; American Society of Civil Engineers. "ASCE'S Infrastructure Report Card Gives U.S. "C-" Grade, Says Investment Gap Trillion, Bold Action Needed. 3/3/2021; Report Card for America's Infrastructure. "Overview of Bridges." 2021; MRL Consulting. "Semiconductor in everyday life: products from leading companies you use daily." 7/31/24; Center for Strategic and International Studies, “Mapping the semiconductor supply chain: the critical role of the indo-pacific region,” 5/30/2023; Semiconductor Industry Association. "America Projected to Triple Semiconductor Manufacturing Capacity by 2032. The Largest Rate of Growth in the World." 5/8/24; Realtor.com, “U.S. housing supply gap grows in 2023; growth outpaces permits in fast-growing sunbelt metros,” 2/27/2024; Motley Fool Money. "Millennial Home-Buying and Homeownership Statistics." 9/10/24; CNN. “More than half of American renters who want to buy a home fear they'll never afford one." July 29, 2024; Merrill Lynch. "Will the "Great Wealth Transfer" transform the markets?" May 2024. This content is for informational purposes only and is not an offer or a solicitation. Reliance upon information in this material is at the sole discretion of the listener. Reference to the names of each company mentioned in this communication is merely for explaining the investment strategy and should not be construed as investment advice or investment recommendation of those companies. In the UK and Non-European Economic Area countries, this is authorised and regulated by the Financial Conduct Authority. In the European Economic Area, this is authorised and regulated by the Netherlands Authority for the Financial Markets. For full disclosures go to Blackrock.com/corporate/compliance/bid-disclosuresSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

AP correspondent Jackie Quinn reports on an emergency landing in New York after a departing jet struck a bird.

On The Rita Cosby Show, Rita talks about drone spotting across the New York tri-state area as witnesses call in to report sightings near and over JFK Airport.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever wondered what life would be like without electricity? Most of us don't give it much thought—until the lights go out.In February 2021, Winter Storm Uri swept across Texas, plunging millions into darkness. Roads froze, power lines snapped, and hospitals were overwhelmed. Texans faced days of uncertainty in freezing temperatures, underscoring the fragility of our energy systems.This event highlighted the need for a more resilient energy future. The U.S. has relied heavily on fossil fuels like coal, oil, and gas for energy. However, over the past decades, the energy landscape has shifted toward renewable sources such as wind and solar power. Despite this effort, renewables come with challenges, such as intermittency, which is why backup systems like natural gas remain crucial.Innovating in an urban setting is becoming more and more critical. An example is the case of JFK Airport's New Terminal One in New York, where an advanced microgrid that combines solar, battery, and hydrogen technologies is being implemented. This system can operate independently of the grid during outages, offering resilience in a high-risk coastal area.Ferrovial's commitment to innovation and sustainability reflects its vision to create a better world. By modernizing infrastructure and investing in clean energy, the company is helping communities adapt to the challenges of climate change while ensuring a stable power supply for generations to come. Sounds Like Infrastructure is a collaboration between Ferrovial and Yes We Cast. Our team includes Francisco Izuzquiza, Alberto Espinosa, Ignacio Fernández Vázquez, Luciano Branca, Gabriel Ureta, José García Guaita, Arantxa Gulias, Marina Pastor, Bethany Ashcroft and Fatima Gracia De Vargas.In addition to the podcast, we have a great blog with so many more stories about infrastructure projects. https://blog.ferrovial.com/en/.If you enjoyed this episode, check out the other episodes on the official Ferrovial Podcast page. We also have a Spanish Podcast channel. Hosted on Acast. See acast.com/privacy for more information.

Want to split £100? If you move to Octopus Energy and use my referral code you can help keep the lights on for me AND get yourself a great welcome bonus. Click here: https://share.octopus.energy/free-puma-452 Can you help me make more podcasts? Consider supporting me on Patreon as the service is 100% funded by you: https://EVne.ws/patreon You can read all the latest news on the blog here: https://EVne.ws/blog Subscribe for free and listen to the podcast on audio platforms: ➤ Apple: https://EVne.ws/apple ➤ YouTube Music: https://EVne.ws/youtubemusic ➤ Spotify: https://EVne.ws/spotify ➤ TuneIn: https://EVne.ws/tunein ➤ iHeart: https://EVne.ws/iheart RECORD DAY FOR TESLA'S SUPERCHARGER USAGE https://evne.ws/3Bk8A8C TESLA ENDS 0% LOAN OFFER BY DECEMBER 15 https://evne.ws/3VyeUA2 EXPANSION OF TESLA'S SUPERCHARGER NETWORK IN NORDIC COUNTRIES https://evne.ws/3BluWXf LEAPMOTOR C10 EARNS TOP EURO NCAP SAFETY RATING https://evne.ws/3VrsFRa VOLKSWAGEN SHIFTS ID. BUZZ PRODUCTION TO POLAND https://evne.ws/3ZHERQr QUANTUMSCAPE'S PROGRESS IN SOLID-STATE BATTERY PRODUCTION https://evne.ws/4fmxF0J SKODA REACHES 1 MILLION EV BATTERY PRODUCTION https://evne.ws/3VPWcEv MILESTONE REACHED: 100 MILLION EV BATTERY CELLS AT LORDSTOWN https://evne.ws/4g0pE2A JFK AIRPORT TO INSTALL 24 NEW EV FAST CHARGERS https://evne.ws/4gnVrdn STELLANTIS AND CATL TO BUILD BATTERY PLANT IN SPAIN https://evne.ws/3BvdRKn STELLANTIS AIMS TO EXCEED 2025 CO2 TARGETS https://evne.ws/41oIXhl KIA EV5 LAUNCHES IN NEW ZEALAND https://evne.ws/3OPH8mm RIVIAN LEADS IN OWNER SATISFACTION SURVEY https://evne.ws/4iIb01N

Country singer violates conditions of bond to attend CMAs. JFK Airport stowaway removed from return flight to US. Ex-employees of cemetery plow through 170 headstones in rampage. 12-year-old drives grandpa's stolen car 160 miles across mountain range. Thieves busted after stealing $300k worth of Air Jordans from train. Follow This Day in Crime on Social: X: @tenderfootTV, @thisdayincrime IG: @tenderfoot.tv, @thisdayincrime Episode Sources: An Alabama Country Singer Violated Bond to Attend the CMAs — Then Posted Evidence on Social Media People Female stowaway who evaded JFK Airport security will remain in France after causing disturbance on return flight to US NY Post Fired cemetery employees steal truck, plow through 170 headstones in wild graveyard rampage NY Post 12-Year-Old Arrested After Driving Grandfather's Stolen Car 160 Miles Across WA Mountains People Sneaker thieves busted for stealing more than $300K worth of Air Jordans from parked train NY Post To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

How did Anne Hamilton-Byrne control her followers? How did the police eventually catch her? And what happened to the dozens of children that were in the 'care' of The Family.  Lex de Man investigated The Family for more than four years, and helped rescue dozens of children from the abuse of Anne Hamilton-Byrne and her followers.  Join Lex as he walks host Brent Sanders through the case in exclusive detail, and explains how he and the Victorian Police were able to arrest and charge Anne Hamilton-Byrne.  This episode contains references to the abuse of children. If it affected you, the number for Life Line is 13 11 14. See omnystudio.com/listener for privacy information.

On December 11, 1978, one of the most audacious heists in history took place at JFK Airport in New York City.  A small group of thieves executed an almost perfect crime and walked away with 6 million dollars in cash and jewelry.  While the actual robbery went off without a hitch, it was after the crime that things fell apart and eventually left a trail of bodies strewn across New York.  Learn more about the 1978 Lufthansa Heist, how they pulled it off, and its bloody results on this episode of Everything Everywhere Daily. Sponsors Plan your next trip to Spain at Spain.info! Sign up at butcherbox.com/daily and use code daily to get chicken breast, salmon or ground beef FREE in every order for a year plus $20 off your first order! Subscribe to the podcast!  https://link.chtbl.com/EverythingEverywhere?sid=ShowNotes -------------------------------- Executive Producer: Charles Daniel Associate Producers: Ben Long & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Update your podcast app at newpodcastapps.com Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode Notes Airports worldwide are investing large amounts in tech upgrades for a projected huge increase in passenger traffic. Travel Technology Reporter Justin Dawes profiles five U.S. airports making upgrades. JFK Airport shared plans earlier this year for its new terminal 6, which will include digital concierge services as well as a self check-in and bag drop. The airport said its new terminal 1 would feature a state-of-the-art baggage handling system. San Francisco International Airport has started working on a $2.6 billion project to modernize terminal 3, which will include automated bag drop stations and new security checkpoints.  And Pittsburgh International Airport is building a new terminal with more streamlined ticketing stations and baggage claim systems.  Next, Qantas unveiled details about its all-new aircraft on Thursday. Airlines Editor Gordon Smith takes a look at the Airbus A321XLR, which the Australian carrier will start receiving next April.   Qantas says the aircraft — which Airbus has coined the “XLR” or “Xtra Long Range” — will open up direct domestic and short-haul international routes. It's a direct replacement for Qantas' existing Boeing 737s, which are due to leave the carrier's fleet over the next decade. The XLR can fly around 1,500 nautical miles further than the outgoing 737s.  Finally, Edinburgh's city council recently approved a proposal to levy Scotland's first tourist tax. Local officials are worried the tax could make the city less competitive, writes Global Tourism Reporter Dawit Habtemariam.  The “Transient Visitor Levy” will charge guests staying at paid accommodations in Edinburgh 5% per room night. Capped at seven consecutive days, the tax will go into effect in 2026. Edinburgh officials will use the funds for affordable housing, infrastructure and destination management, among other areas.  Habtemariam notes some tourism businesses are concerned the new tax will make the Scottish capital more expensive for tourists. Marc Crothall, chief executive of the Scottish Tourism Alliance, described Edinburgh's new tax as a contentious matter, citing concerns about the possible impact on future bookings.   For more travel stories and deep dives into the latest trends, head to skift.com.  Connect with Skift LinkedIn: https://www.linkedin.com/company/skift/ X: https://twitter.com/skift Facebook: https://facebook.com/skiftnews Instagram: https://www.instagram.com/skiftnews/ WhatsApp: https://whatsapp.com/channel/0029VaAL375LikgIXmNPYQ0L/ Subscribe to @SkiftNews and never miss an update from the travel industry.

In this Pop Off episode of Morgan's Pop Talks, Morgan takes us through her whirlwind weekend in New York City, filled with Bravo adventures and a touch of drama! From attending Carl Radke's soft launch of Soft Bar & Café to witnessing Ariana Madix's Broadway debut in "Chicago," Morgan spills all the juicy details. Plus, hear about her chaotic journey home and the unexpected challenges she and David faced at JFK Airport. 00:00 – Intro 00:33 – My Nightmare Travels in NYC 12:52 – Seeing Ariana Madix on Broadway 16:26 – Visiting Carl Radke's Soft Bar + Cafe   Listen to the podcast at https://hurrdatmedia.com/network/show/morgans-pop-talks/  Join me at http://www.patreon.com/morganspoptalks for exclusive minisodes each week! Join me at https://www.morganptalks.com/ to subscribe to my weekly newsletter for reminders, important links, and additional surprises!   Visit oneskin.co and use code POPTALKS to try out their products that make it easy to keep your skin healthy! Visit factormeals.com/poptalks50 and use code poptalks50 to get 50% off!   You have questions, I have answers. I'm Morgan P, and this is Morgan's Pop Talks. Each week I answer questions submitted by YOU. What is it that you are DYING to know about Bravo? The Bachelor? Vanderpump Rules? If it's trending online, you'll hear it here on Morgan's Pop Talks. Submit a question via my social media pages @morganptalks and I could answer YOUR burning question next. Don't miss out on the drama and subscribe to the Patreon for Bravo Fridays, Bachelor Tuesdays, Celeb Wednesdays, Survivor Thursdays, and more. This is another Hurrdat Media Production. Hurrdat Media is a podcast network and digital media production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network by going to HurrdatMedia.com or Hurrdat Media YouTube channel! Learn more about your ad choices. Visit megaphone.fm/adchoices

Suzanne Colucci has this afternoon's top local stories from the WCBS 880 Newsroom.

In this episode of Beyond the Big Screen, Steve and Mustache Chris, the Canadian, focus on the notorious mob associate Henry Hill. The central figure in both the book 'Wise Guy' and the movie 'Goodfellas,' Hill became a state's witness, exposing shocking crimes, including the infamous 1978 Lufthansa heist where nearly $6 million in cash and jewels were stolen, equivalent to over $25 million today. The discussion delves into Hill's background, his despicable actions, and the major players involved in the heist. Key figures like Jimmy Burke, Tommy DeSimone, and the dynamics of the Lucchese crime family and the JFK Airport's link to the mafia are explored. The episode further details the Air France robbery and how Henry Hill's bust led him to become a state's witness, dramatically altering the course for his associates. post-crime life.00:00 Introduction and Overview01:06 Henry Hill: The Man Behind the Mob 06:37 Jimmy Burke: The Ruthless Earner09:24 The Lucchese Family and JFK Airport14:58 Tommy DeSimone: The Loose Cannon23:25 The Air France Robbery: A Prelude to Lufthansa30:43 The Crew's Drug-Fueled Heist Preparations31:52 The Heist Goes Awry33:33 Bumbling Criminals and Near Misses 38:22 Stacks' Fatal Mistake43:41 Jimmy's Ruthless Cleanup 48:59 Henry Hill's Betrayal and Aftermath58:47 The Unsolved Mystery of the Missing MoneyTranscript URL: https://share.descript.com/view/RNv50LpB10RYou can learn more about Beyond the Big Screen and subscribe at all these great places: https://atozhistorypage.start.pagewww.beyondthebigscreen.comClick to Subscribe: https://www.spreaker.com/show/4926576/episodes/feedemail: steve@atozhistorypage.comwww.beyondthebigscreen.com Parthenon Podcast Network Home: parthenonpodcast.comOn Social Media: https://www.youtube.com/@atozhistoryhttps://www.facebook.com/groups/atozhistorypagehttps://facebook.com/atozhistorypagehttps://twitter.com/atozhistorypagehttps://www.instagram.com/atozhistorypage/Music Provided by:"Crossing the Chasm" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/

This is the noon All Local for Wednesday, July 24, 2024

In this episode we break down, with stats and opinions, the best airport to fly into New York City. We'll discuss the pros and cons of LGA, JFK, and Newark Airports. Flying Into Newark Airport to Go to NYC Located in New Jersey, across the Hudson from NYC Public Transportation cost into Manhattan: usually about $16 for the train from the airport to Penn Station in NYC, then (depending on final location) another $2.90 for a subway swipe Stats about Newark Airport Delays From April 2019 to April 2024, Newark Airport had a 73.1% on-time rate for flights (worst of the three). It also had a 3.96% cancellation rate (highest of the three) Pros of Newark Airport It's usually the lowest-cost option for flights alone Cons of Newark Airport Has the longest average security wait time of the 3 airports at 23 minutes, compared to 16 for JFK and 17 for LGA It is a trek to get there, and if you don't hit the train at the right time, you can end up waiting for an extended amount of time for the next train Finding the AirTrain can be confusing; it's not very well-marked If you take an Uber or Lyft or any type of driving, it's the most challenging and confusing airport I've ever driven to/from You have to go to New Jersey

Michael Wallace has the top stories from the WCBS newsroom.

The city's social services agency is restarting so-called 'welfare to work' rules for New Yorkers who receive public assistance, ending a four-year suspension. WNYC's David Brand reports. Meanwhile, a fleet of driverless 8-passenger shuttles begins running this Tuesday at JFK Airport. Plus, the New York City Council has made it easier for renters facing eviction to get a housing voucher before they become homeless. But so far, Mayor Eric Adams has refused to implement the new rules. WNYC's Karen Yi reports this has left some New Yorkers with few options but to go into shelters. Finally, New York City Mayor Eric Adams is running for re-election in 2025. While incumbent mayors don't usually face a competitive primary contest, recent fundraising numbers from some of Adams' potential opponents suggest next year may be different. WNYC's Michael Hill speaks with senior politics reporter Brigid Bergin with the latest.

Get up and get informed! Here's all the local news you need to start your day: Driverless shuttles are coming to JFK Airport in Queens. WNYC's Catalina Gonella has more. In other news, the New York City Council is allocating funds to save community centers for people with mental health issues after nine clubhouses recently lost their city contracts. Plus, prosecutors will wrap up their closing statements Tuesday in the federal corruption trial against New Jersey Senator Bob Menendez, who is accused of accepting bribes of money and gold bars in exchange for favors for Egypt, accepting bribes and interference in criminal cases.

James "Jimmy the Gent" Burke (1931-1996) was a notorious figure in American organized crime, known for his association with the Lucchese crime family in New York. Born into a life of hardship and abuse, Burke's early years were marked by instability and criminal behavior, setting the stage for his later involvement in the Mafia.Burke rose to prominence in the 1950s, becoming a key player in the criminal underworld through his intelligence, strategic thinking, and ability to maintain a calm demeanor. His polite and courteous manner earned him the nickname "The Gentleman," though this masked his ruthless efficiency in orchestrating criminal activities.The pinnacle of Burke's criminal career was the Lufthansa Heist in 1978, where his team stole an estimated $5 million in cash and nearly $1 million in jewelry from the Lufthansa cargo terminal at JFK Airport. The heist, one of the largest cash thefts in American history, showcased Burke's meticulous planning and insider information. However, it also led to a series of murders orchestrated by Burke to eliminate potential informants and secure his freedom.Despite his involvement in the Lufthansa Heist, Burke managed to evade conviction for many years due to the Mafia's code of silence and his skill at covering his tracks. His eventual downfall came in 1982 when he was convicted of fixing Boston College basketball games, leading to a prison sentence that lasted until his death from cancer in 1996.Burke's life has been immortalized in popular culture, most notably in Martin Scorsese's film "Goodfellas," where Robert De Niro portrayed a character based on him. His legacy is a complex mix of admiration for his cunning and strategic mind, and condemnation for his brutal and violent actions. Burke remains a symbol of the allure and danger of the criminal underworld, illustrating the fine line between genius and infamy.(commercial at 9:42)to contact me:bobbycapucci@protonmail.com

This is your 12 P.M. All Local update for June 29, 2024.

James "Jimmy the Gent" Burke (1931-1996) was a notorious figure in American organized crime, known for his association with the Lucchese crime family in New York. Born into a life of hardship and abuse, Burke's early years were marked by instability and criminal behavior, setting the stage for his later involvement in the Mafia.Burke rose to prominence in the 1950s, becoming a key player in the criminal underworld through his intelligence, strategic thinking, and ability to maintain a calm demeanor. His polite and courteous manner earned him the nickname "The Gentleman," though this masked his ruthless efficiency in orchestrating criminal activities.The pinnacle of Burke's criminal career was the Lufthansa Heist in 1978, where his team stole an estimated $5 million in cash and nearly $1 million in jewelry from the Lufthansa cargo terminal at JFK Airport. The heist, one of the largest cash thefts in American history, showcased Burke's meticulous planning and insider information. However, it also led to a series of murders orchestrated by Burke to eliminate potential informants and secure his freedom.Despite his involvement in the Lufthansa Heist, Burke managed to evade conviction for many years due to the Mafia's code of silence and his skill at covering his tracks. His eventual downfall came in 1982 when he was convicted of fixing Boston College basketball games, leading to a prison sentence that lasted until his death from cancer in 1996.Burke's life has been immortalized in popular culture, most notably in Martin Scorsese's film "Goodfellas," where Robert De Niro portrayed a character based on him. His legacy is a complex mix of admiration for his cunning and strategic mind, and condemnation for his brutal and violent actions. Burke remains a symbol of the allure and danger of the criminal underworld, illustrating the fine line between genius and infamy.(commercial at 9:42)to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT When an announcement came out about the experiential work being planned for the new Terminal One at New York's JFK Airport, I was familiar with some of the parties involved but not the one guiding it all - a design consultancy called Arup. I clicked over to LinkedIn and was surprised to learn this wasn't some little boutique company, but a multinational firm with more than 10,000 people. Arup describes itself as a collective of designers, consultants and experts working across 140 countries. One of the intriguing aspects of the company is that while it has teams very much focused on the creative process, it also has large teams focused on wildly different aspects of projects, like structural engineering and water conservation. I had a great chat with Gideon D'Arcangelo, a Principal at Arup who is running the JFK project and came over to Arup after many years at the much-respected creative tech firm ESI Design. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Gideon, thank you for joining me. I think the first thing to do is tell me about your company.  Gideon D'Arcangelo: Dave, it's great to talk with you. Gideon D'Arcangelo, I joined Arup five years ago. I just reached my five-year anniversary of joining. Arup is a global design and engineering firm, 20,000 people strong, with over 90 offices. So, we work at a global scale. We're really joined up globally, and we do all aspects of design. We are a very multidisciplinary firm. We started out as structural engineers. We are a firm that has major projects with the Sydney Opera House and the Center Pompidou.  Arup is a cooperative. It became a cooperative in the 1970s, and so we have members that work globally, and we pride ourselves on our interdisciplinary design and practice something called Total Design, which is the more integrated, the more different disciplines working together, the better the outcomes in the built environment. Our main focus is on sustainable development, and in fact, the United Nations' sustainable development goals are our mission statement for the company and we feel that we can really move the needle since we touched so many projects in the built environment globally, every year, we can really move the needle in that direction.  Interesting. So, I'm curious about the sustainable development part of it. Is that a pivot that the company has made seeing where things are going, or is that kind of always been in the DNA or has been for some time?  Gideon D'Arcangelo: I'm really happy to say that sustainable development has always been in the DNA. Arup's been a leader in this place and has been leading in these concepts of sustainable development for 30+ years, if not longer. There are certain professionals here, Joe De Silva, for example, in the UK, who have been leading in sustainable design and development thinking for over 30 years, and really, we are happy to see that the sustainable advice practice that we have as the world is caught up to really understanding that this is a priority and a necessity. So not a pivot at all. In fact, something that we're just really happy to see is that everyone is focusing on it and prioritizing it as much as the firm is. I was recently at a conference in Europe about digital signage. One of the major discussion points was what they coined as green signage and the whole idea of sustainability. I led a number of panels, one focused on the North American market, and I told the audience and confirmed it with the North American panelists. While green signage is a big deal, and there's a lot of discussion around sustainability in Europe and other parts of the world, it's barely on the radar in the US and Canada, perhaps to a lesser degree, with a notable exception, maybe very large corporations, but most businesses really aren't talking about it yet. Gideon D'Arcangelo: I think that's right that America tends to be and in Canada, North America tends to be a bit behind on this, and you get the leadership from Europe, from the UK, other parts of the world, I think, because resources are more constrained over there, frankly, and they're getting to understand the limitations of resources. They're better than we do here yet, but everyone has come to terms with that quickly. So we tend to learn a lot from what's happening in Europe and bring it to the Americas because we know it's what's coming next.  Yeah. Some of the European guys were saying just about any RFP or tender that you get that's right up top, they want to know about your sustainability point of view and practices as well. One of the American guys said that in the last three years, we've never seen it in a tender; it's not even stipulated.  Gideon D'Arcangelo: Yeah, it'll get there. It'll get there. It reminds me just of a project that I did at ESI back in 2015 for PNC Bank. PNC Bank, you may know, has just been a leader in the sustainable development of their real estate fleet for years, and there was a wonderful man named Gary Salson at the time, who was the director of real estate and commissioned the PNC Tower in downtown Pittsburgh, which at the time was the greenest sky riser and among the top 5 greenest sky rises on earth really pushed the envelope in terms of green design of a building. I was at ESI at the time, and we were commissioned to create a digital display component, the sculpture component is part of the lobby experience. That was intended to give the building a voice and have it talk about how it was using resources or how it was saving resources really ahead of its time, fantastic project, and for that, we had to design our own canvas, our own display, because we couldn't put a big energy hog in the building to tell the story of the building. It was an interesting design challenge.  So you were at ESI for a whole bunch of years, right?  Gideon D'Arcangelo: I was at ESI for 24 years, so yeah, a long time. That's where I grew up in my career.  Fantastic experience. What was your role there by the time you moved on?  Gideon D'Arcangelo: I was in the organization's leadership by the time I moved on. I also led our business development and marketing. In the end, there, I became a multidisciplinary creative director on some of our projects, for example, leading the design lead on this PNC Beacon Project. I joined the firm as a UX designer. We called it an interactive media designer in the mid-90s when I joined the firm.  Almost pre-digital.  Gideon D'Arcangelo: Yeah, it was right at the cusp of all that stuff, and ESI was always leading edge in that regard, and we had a team of people that did interactive design when there were very few people in New York City at least the very few firms doing that at the time. So that's how I grew up doing UX/UI designs for Museum interfaces. I was always into working in the built environment, creating some interesting museums and corporate programs. But over time, being there as long as I could, I was able to move into the position of design lead, where I could speak to the different disciplines required to deliver these experiences. So we have physical designers, technology designers, hardware folks, software designers in both front and backend software design, visual design, graphic design, both static and motion, and content people as well as writers who are in practice. Directing that whole team together, is how you get these comprehensive experiences, and so that was what I was doing at ESI by the end of my career.  And it's the kind of company that while it's substantially in that particular space, in comparison to a rep or those kinds of companies quite small and you would have been contracted into projects like PNC and so on, as opposed to leading them versus I assume now with the rep that you guys are largely leading these projects.  Gideon D'Arcangelo: That's right. It's a different dynamic. When I moved to Arup, it was really about making a jump in scale and so from working in a 50-person boutique pioneering innovative firm in New York for a couple of decades, going to a global firm that's operating at a whole different level of scale, really excited me, and I thought this was a really interesting place to experience design because it was being recognized in the marketplace in different ways. Various architecture firms were building up their experience in design practices. Arup was really interesting to me because it's primarily an engineering firm and so brings the deep technical acumen that no architecture firm could really bring to the table. So, I was attracted to a firm like Arup that could push into the next generation of experience design at much larger scales than we've ever seen it before.  So would you be competing for jobs with the populaces of the world in Gensler, or are they a different element of it?  Gideon D'Arcangelo: Again, it all just depends on the context. We work with the populace. We work with Gensler all the time in various capacities on very big projects. There are ways to carve out scope for an Arup alongside our partners like populace and Gensler. In some cases, we might find ourselves going up against each other for a certain piece of scope. All you know is that just happens in the course of business, depending on the client's situation and the way the scope has been described.  I'm guessing massive projects, but, at the end of the day, it's still a fairly small community, like the folks that at Populous and Gensler are some of the other companies?  Gideon D'Arcangelo: Yeah, for sure. It's a tightly-knit world. We have a lot of respect for each other and we cross paths a lot at various, professional crossroads and conferences, that sort of thing.  So how was it to go from a company where you knew what everybody else was doing, and you're of the same mindset to ending up in meetings with civil engineers and people who were experts in water treatment facilities and so on?  Gideon D'Arcangelo: Yeah, great question. I think that it was, first of all, exhilarating and inspiring, and invigorating. All of those things were really great. They were a catalyst for my thinking and what I wanted to do with my practice. I feel that the real part of being a good experience designer is being a good integrator of disciplines and being able to speak the language of multiple disciplines really fluently and so even at ESI, five different disciplines, it was not unusual, but a special mix of different expertise that were brought together. You had hardware people, you had people that knew about onsite construction and physical constructability, but you had people working on UX and UI design, and you had to be able to speak all those different languages, and dropped into Arup, suddenly 50 other languages to learn quickly, and, to really get, but there were many people that were interested in working with these integrated projects. So we have a fantastic lighting design here. We have acousticians of the highest order. We have fantastic AV designers but also even on the engineering side, we'll bring in folks that are working on urban planning. It was really interesting for me to find which folks resonated with what we were talking about. Actually, we did a project in Providence, Rhode Island, where Arup, led the master plan for what was called the unified vision for Downtown Providence. It was one of the early projects that I did here, supporting one of my colleagues in the Boston office, where we took an experienced design approach to planning how to renovate and reinvigorate Downtown, and for that, we were working on a larger scale than I'd ever worked before. It was a whole Downtown district. We're putting experience design interventions into this plan, but we're also looking at the engineering of the site and how to make it ready for public use in a variety of ways. So we worked both on the front end and on the back end, and all the infrastructure was as much a part of our design as the front-end experience pieces. That's what I was looking to do when I came here, and in fact, we did that, and it was a really interesting part of the design. It was so fascinating. We realized after a while that, after our Flood Modelers from the water team took a look at this and saw that the site was really going to be compromised in 50 years. We started to come up with a different design, building bridges, rather than digging tunnels, and a variety of things were done to actually shape the architecture of the site to anticipate the next 100 years and so I was like, that's the kind of thing we can do at Arup with this really highly integrated set of disciplines all under one roof.  Yeah, and that integration, I assume, is absolutely essential that you cannot operate in silos.  Gideon D'Arcangelo: Exactly, and I think that's been my skill, Dave, over the years: I'm a horizontally oriented person, and I'm a good interlocutor or translator. I can quickly pick up a language enough to understand what's critical in that one group and, make sure that constraint maybe is understood by another group that can't quite see it, and that's how I think you get to highly integrated design and make sure basically keep people talking to each other and keep working with each other, because every organization fights with silos because it's just the nature of larger organizations. It can be deadly if that happens, though, right?  Gideon D'Arcangelo: Exactly. It's mission-critical, So Arup is, I think, smart in the fact that we have people that cut across as well, like myself, and I'm not the only one who cut across as well as we have deep expertise in our disciplines.  You can go into an engineering meeting and not be bored to tears or completely confused by what's going on. Gideon D'Arcangelo: No, It's fascinating. It was just wonderful, always intellectually stimulating, and a really, really amazing group of talent here.  I have to say Arup came on my radar because of a post I wrote several weeks ago about JFK and one of the new terminals. I saw that your company was involved in that. Even though you're huge, I'm old and stupid, and I was completely unaware that you guys existed. That was intriguing to me. What were you doing there? And is that a typical project?  Gideon D'Arcangelo: That is a project that I am leading so I can really give you a good view into that, and I think it's an expression of all the things we have just been talking about the integration of multiple parts of a project that might in the past have been thought about as disparate or separate, and since the middle of 2022, Arup has been leading what the client calls the Art Branding and Digital Experience program of JFK New Terminal One and it came about because the Terminal has aspirations to be in the top terminals in the world when it opens in 2026, and it's known that these elements: a proper art program, a proper branding and storytelling program, and digital experience installations are all part of creating a true 21st-century Airport Terminal, and also, this is part of the larger context of the overall upgrade that's happening to all 3 of New York's airports, LaGuardia, JFK and Newark, and some of those new terminals are already online. You may have seen what happened at LaGuardia Terminal B was fantastic, right? I'm a lifelong New Yorker, so I'm benefiting from this.  Arup was deeply involved with Delta LaGuardia Terminal C. In fact, I did some work on that and Newark Terminal A just came online, so a lot of great stuff is happening from here. It's a good time for that, and the Port Authority of New York and New Jersey is leading that effort to really upgrade. And so as part of that, there's a real demand for this art branding and digital experience piece and the idea was that while the architect was making the base building, and Gensler is the base building architect, a fantastic team from Gensler is leading that, the client was looking for one team to give a very integrated passenger experience for you of what that layer was that storytelling and a sense of placemaking was going to be on the architecture and that was going to be delivered through art branding as they called it and digital experience, and so we took on that role at the time, and so we've been leading the vision for that layer and for that storytelling and placemaking piece. Since we started in 2022, we've gone through the strategy and design phases, and as you can imagine, 2026 isn't that far away. We're starting to move from design into production, and it was really key for that to make a strong narrative of what it meant to be coming into the New York airport and what's great about new Terminal One, Dave is, it's the only international terminal at JFK. People who are going to foreign lands are coming from foreign countries. So it's that kind of population coming through, and we had to create an experience really could only happen in New York. It couldn't be that this airport felt like something that was in Orlando or some other place it had to be for people coming from, coming, or New Yorkers departing or coming that it had to be something that could only happen in New York, and it's good that I'm a native New Yorker and I've lived here my whole life. I have a good sense of that. I like to think and we were really helping craft that narrative. We then put together a team to work with us, and so we brought onto our team, Eddie Opara from Pentagram is leading the branding effort. We brought on a wonderful art curator team called CultureCore, who we've worked with in the past, at Arup that is leading the art curation, and then Arup is leading the digital experience design aspect of that, creating a whole set of digital canvases that are integrated into the architecture and a real media architecture style way throughout the terminal experience, both on departures and arrivals, and then a company that you know about we brought on, just last year after about a year into the process we brought Gentilhomme out of Montreal to develop the digital content for those digital canvases. We have a really amazing team that we're working with.  Another cool part of this project is that the client asked us to collaborate with the advertising partner for the terminal, Clear Channel to have this art branding and digital experience program complement what they were doing and work hand in glove, like one experience. I'm happy that our client had the vision to do that, and the teams worked really well together to make something that was really passenger-centric and focused on what passengers needed every step of the way so that they worked together. It's they don't, there's no cacophony or competing for eyeballs and imagery. Instead, they work together because we work together and crafted the program.  How practically would that work in terms of, when you say they're working together, the digital at a home and the experiential art pieces?  Gideon D'Arcangelo: Yeah, there are many examples of that. Simply, we would work through each space and say, where are some of the high-value places where Clear Channel will do what they were doing and take that area, and then right next to that, we might put something that brings you into a New York sense of place, creating a moment, and so we went area by area and again, working together, it was going to really compose it together, I would say, and saying, hey, this area is good for that, and that area is good for that, and so one program came out of that. So that's what I mean.  Okay. So it means you're not running into conflicts around things like sight lines and you can design this in a way that makes sense as opposed to designing a terminal and designing where the experiential digital pieces go and then Chird Channel comes in and say, okay, what's left? Where can I put stuff?  Gideon D'Arcangelo: Exactly, because you know, everyone's important in this program and we did it. What's cool about it, I think, was we took a human-centric or passenger-centric approach to make those decisions and just thought, how can we make a great experience for passengers, and meet all the needs of the advertising program, meet all the needs of the experience design program, and keep it all organized that way. I'm just always curious how companies such as yours invest a lot of time and have a lot of deep conversations with their customers. How do you define experience? Because when I think of an airport, my idea of experience is perhaps different from some others. I'm intrigued by the big experiential art things and LED video walls and so on, because that's what I do. But for me, a great experience is wayfinding and status boards to tell me, “Am I late?” “Am I early?” “Where do I go?” All those sorts of things.  Gideon D'Arcangelo: Those are also critical foundational parts of a quality experience. So that's a great question. I just gave a talk last week to an aviation group, and that's one of the things I said is wayfinding is the foundation of passenger experience design.  It's boring, but it's incredibly important.  Gideon D'Arcangelo: It's critical, and for a geek like myself, it's not even boring and it's just so key, and it's not easy, and it's always being innovated, and in fact, there's a lot of innovation happening with digital in wayfinding now that we're quite involved in, actually, not so much on New Terminal 1 project, but other airport terminals and other places.  The functional experience design has to be right, and that's critical things. I'll just use an aviation example in a terminal. It's crystal clear where you need to go. It's crystal clear how much time it's going to take you and how much time you may have. You might want features on a mobile device that help you understand how you can get on tethered from your gate and roam and shop and eat and do a variety of things before you get on your plane. Those are key, and then there's the more ambient placemaking, sense of place environmental work also.  In this case, what we're doing with the New Terminal 1 is really that second category: creating that sense of place, telling that story, doing something that's all only in New York and doing that through a variety of means. It is that a whole other program is, in fact, happening for New Terminal 1 and one of the things I didn't mention. We also looked really hard at the wayfinding program to make sure that everything we were doing built off of that, too. There's a whole other because you have to pay attention to that functional side. We do work, though, in other environments where our team will get into the functional side as well as the ambient environmental side, because they really need to work together as one.  I guess it changes with every project, but I'm curious, most typically, where does your team start and stop? Or where does Arup start and stop on a typical project? Or is there no such thing as typical?  Gideon D'Arcangelo: There's no such thing as typical, but of course, that's a broad answer because every project is really interesting and unique. No, but we start early. We're a whole life cycle company and we work with our clients that way because we are strategists. Still, we're also builders wearing hard hats on site, making sure that everything got installed according to the strategy and the design, and the big movement right now, in my opinion, Dave, what's happening in the built environment world is the shift from design and construction into operations is getting increasingly smoothed over and thought through in a different way. So, a building was finished, and then people moved in, and there were various tasks like adding other things. “Add” is a term from air operational readiness that air airports used to shift from construction into operations because it has to work on day one; you can't take a few days to get it right. It has to work the moment it opens, you open the door. So there's a whole process, and Arup has that team. We can bring that to our clients as well, because our understanding of the design and construction process and the commissioning process at the very end, as it shifts into operations, gives us expertise in a way to make that as smooth as possible. But beyond that, there is a whole movement of using the tools, the digital tools that you create and design and construction as models that then can be brought through into operations and putting sensors into the building and putting a variety of things into the design of the building, so as you move out of design and construction, you have a digital model of the building that you can help use to operate and maintain and work with facilities management and other teams that are helping that building to operate more efficiently once it's opened. So, the long answer to your question is that we really will start when there's a blank sheet of paper with our clients and help strategize what needs even to happen all the way through. Of course design is our main bread and butter. Of course, we stay on during construction to oversee construction to ensure it's delivered as designed and then increasingly into operations in that whole life cycle. I'm guessing that when your career started, digital was something that was perhaps added on, thought about later in the game, and I'm wondering now, is the visual digital components of big projects are now fundamental to the overall thinking?  Like it's not something that's added on later. They're talking about it right from inception.  Gideon D'Arcangelo: Definitely. It's a good insight, and I've seen that over the course of my now 30-year career to see the shift in that where initially we would have to work hard to convince the clients, even to consider some of these things, and then over time, about 10 years in, you started to see them showing up in a variety of ways and then increasingly they just become, as you say, just part of the program and assumed part of the program. But there's still such a long way to go on that front. And I've always thought that this idea of digital and physical being separate is a design problem of our age.  In a hundred years' time, people will just see that we got through that design problem and just digital permeates everything you do because it's, why wouldn't it? It's a smart way to go, and it's an innovation and human ingenuity and history. So right now there's a lot of work for bringing the digital mindset into every aspect of life, and particularly into the built environment. The built environment has been slow to pick up on this. So construction is really now in this kind of really exciting phase, the virtual design and construction where these digital tools are coming in and taking off, but there's a long way to go. I like to think of Arup as a leader in digital-physical integration, that's a task of our day, digital-physical integration. It's not like digital something off on the side, but then you do it at the end or do it in a box. Instead, you think of it from the very beginning and build it into every aspect of how you design, deliver, and operate the project.  Yeah. I think it's exciting that we're getting very close to a level that LED displays, both physical ones and ones that are embedded in glass, and things like that can now be thought about as building materials that you can use as a wall. Is it necessarily going to be mahogany or travertine tile or whatever. It can be like LEDs that can be changeable when as much as they need to be changeable.  Gideon D'Arcangelo: Absolutely. I worked with Michael Schneider when he was at ESI, with me. We often talked about that as we talked about media architecture as that was an emerging term in the field. One of the things I really am grateful for working with ESI was the idea that media wasn't something that you attach to an environment in creating an interactive environment, you actually were working with this audio-visual material as you say, that becomes part of the architecture, and what's interesting about that though is then the client for that gets confusing because if you're putting in travertine or mahogany, you're talking to one side of the client, the design and construction folks. As soon as you put a dynamic piece of media in, who are you talking to? You're talking to that same client who's responsible for building that space. But suddenly you're also talking to the director of communications and the director of marketing and the storytelling people of the company. And that was something that I've always seen about this field. You needed to be able to talk to storytellers. That would be your CMOs, your directors of communications, your chief communication officers, as much as you could talk to the the head of real estate, that's building something. Where it worked well, you got leadership from both sides on the client that really understood what you were doing. As you put this material into the building, there's still the question of what it's doing. What story is it telling? Who's maintaining it over time? What's the content strategy? And that's what made it really exciting because it's different from putting a static tile on the wall. As soon as you put a media, an LED tile on the wall, it has a whole different governance aspect to it that is very modern, and I think now it is becoming standard. People expect that in their buildings.  All right. That was terrific. I know a lot more about Arup than I certainly did half an hour ago, and I suspect it'll be the same for a lot of listeners. Gideon D'Arcangelo: That's great. Thank you, Dave.  I appreciate your time.  Gideon D'Arcangelo: Likewise. Great to talk with you.

A Texas man faces federal penalties after the TSA says he tried to pass through security at JFK Airport with a loaded gun on Friday. In other news, New York City's heat emergency plan is now deactivated, but officials continue to monitor for health and safety impacts from the recent heat wave. Plus, Tuesday is primary election day in New York. Voters will weigh in on a number of races, including congressional and state legislative contests. As the general election in November approaches, WNYC is using laundromats across the New York metro area as hubs of civic engagement to understand what matters to people as they prepare to head to the polls. WNYC's Janae Pierre speaks with George Bodarky, head of our Community Partnerships Desk, to share insights from the latest edition of “Suds and Civics.” And finally, as part of Pride Month, WNYC is highlighting LGBTQ+ voices in New York City. Meet Sam Grasland of Manhattan.

My guest today is Antonia Botero, the Founder of MADDPROJECT. Antonia has over 15 years of experience in architecture, construction, and development. Her notable projects include the rehabilitation and repositioning of the historic TWA terminal into the TWA hotel at JFK Airport in New York City. In today's episode, we discuss Antonia's key influences including being an immigrant, going to an all-girls school, and the high standards and unwavering belief in her abilities by her parents. We also discuss how a pivotal year led to a complete re-examination of her life and what's changed since then.Antonia Botero:MADPROJECTAntonia on X100 Years of Solitude by Gabriel Garcia MarquezDelirious New York by Rem KoolhaasTim Ludwig:Tim on XPodcast websiteTopics:(00:00:00) - Intro(00:02:50) - Antonia's upbringing and the impact of all-girls education(00:08:53) - Antonioa's family life & parental influences(00:16:00) - Entering the real estate field(00:21:52) - Immigrant experiences(00:29:38) - The journey of becoming a US citizen(00:37:37) - Antonia's early career in architecture and development(00:44:12) - The beauty of NYC(00:54:44) - Moving to Park City, UT(00:59:04) - Starting Mad Project(01:03:13) - High consequence vs. high-risk(01:09:32) - What has surprised you most about yourself?The content of this podcast does not constitute investment advice, an offer to provide investment advisory services, or an offer to sell or solicitation of an offer to buy an interest in any investment fund.Transitions with Tim Ludwig is produced by Johnny Podcasts

Scott Cerone grew up on Long Island, listening to the Concord supersonic airliner fly final approach to JFK Airport, and KNEW he wanted to fly. He attended the United States Air Force Academy, majoring in General Engineering, and went to Undergraduate Pilot Training at Colombus Air Force Base.  Scott ("Hummer") did well enough in training to score an assignment to the A-10 aircraft, and served in combat over Kosovo, the only war that was fought exclusively by air power. Along with other pilots in his unit, he writes about his experiences in A-10s Over Kosovo, available from Air University Press. Scott has been a pilot at United Airlines for eight years and is a Captain on the B737.

Microsoft highlights adversaries experiments with AI LLMs. A misconfiguration exposes a decades worth of emails. SentinelOne describes Kryptina ransomware as a service. The European Court of Human Rights rules against backdoors. Senator Wyden calls out a location data broker. GoldFactory steals facial scans to bypass bank security. The Glow fertility app exposes the data of twenty five million users. Qakbot returns. Our Guest Rob Boyce from Accenture talks about tailored extortion. And hacking the airport taxi line leads to prison.  Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our daily intelligence roundup, Daily Briefing, and you'll never miss a beat. And be sure to follow CyberWire Daily on LinkedIn. CyberWire Guest Guest Rob Boyce from Accenture talks about tailored extortion as actors continue to shift to pure data extortion, with old and new tactics. Selected Reading State-backed hackers are experimenting with OpenAI models (Cyberscoop) Staying ahead of threat actors in the age of AI (Microsoft) U.S. Internet Leaked Years of Internal, Customer Emails (Krebs on security) Kryptina RaaS | From Underground Commodity to Open Source Threat  (SentinelOne) Backdoors that let cops decrypt messages violate human rights, EU court says (Arstechnica) A company tracked visits to 600 Planned Parenthood locations for anti-abortion ads, senator says (POLITICO) Cybercriminals are stealing Face ID scans to break into mobile banking accounts (theregister) Fertility tracker Glow fixes bug that exposed users' personal data (TechCrunch) New Qbot malware variant uses fake Adobe installer popup for evasion (bleepingcomputer) Duo headed to prison for charging cabbies to skip JFK Airport line with Russian hackers' aid (nydailynews) Share your feedback. We want to ensure that you are getting the most out of the podcast. Please take a few minutes to share your thoughts with us by completing our brief listener survey as we continually work to improve the show.  Want to hear your company in the show? You too can reach the most influential leaders and operators in the industry. Here's our media kit. Contact us at cyberwire@n2k.com to request more info. The CyberWire is a production of N2K Networks, your source for strategic workforce intelligence. © 2023 N2K Networks, Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices

On Episode 1339: Deep dives into the rough and tumble worlds of 'happy endings', internet speed wars, celebrity rumors, underwater AI nations, solar storms, cargo planes, Senate hearings, animatronics, and MUCH more… Timestamps: (00:00:00) Intro (00:02:58) Happy (Belated) Birthday Macho Man! (00:04:52) North Face fleece, the Bud Light of jackets?