Podcasts about memorial museum

AMSEcast celebrates 250 years of American innovation with Dr. Andrew Hammond, historian and curator at the International Spy Museum. Hammond explores the evolution of intelligence and espionage, from trial-and-error codebreaking by pioneers like the Friedmans to today's cutting-edge technology. He highlights cryptographic breakthroughs, spy tools, and covert communication methods like one-time pads and suitcase radios. The conversation traces the U.S.'s rise as a global intelligence leader, fueled by Cold War innovation and British collaboration. Stories like the CIA's Glomar Explorer mission illustrate the secrecy and complexity of spycraft. Hammond also hosts SpyCast, sharing these stories with a global audience.     Guest Bio Dr. Andrew Hammond is the historian and curator at the International Spy Museum in Washington, DC. He has held teaching positions and fellowships at esteemed institutions, including the British Library, the Library of Congress, and the 9/11 Memorial Museum. A veteran of the Royal Air Force with assignments to the British Army and Royal Navy, he brings deep expertise in intelligence and national security. Dr. Hammond is also a fellow at the Global National Security Institute and the author of the upcoming book Struggles for Freedom: Afghanistan and US Foreign Policy Since 1979.     Show Highlights (1:52) About the International Spy Museum (5:01) How the U.S. has found information about adversaries in the past (10:54) Tools that can be found in the museum (14:03) The difference between a spy and an agent (17:04) Popular examples of field weapons and how the museum documents them (19:17) Sabotage tools developed in the U.S. and used by American spies (25:53) How the Enigma machine helped crack German and Japanese codes in WWII (29:05) How men and women are represented at the museum (36:22) Spycraft innovations that have made it into public life (43:31) SpyCast, the museum's official podcast     Links Referenced Struggles for Freedom: Afghanistan and US Foreign Policy Since 1979: https://www.amazon.com/Struggles-Freedom-Afghanistan-Foreign-Policy/dp/1474405460 SpyCast: https://www.spymuseum.org/podcast/

The number of visitors to the Hiroshima Peace Memorial Museum hit a record high for the second straight year, totaling 2,264,543 in fiscal 2024, the museum said Friday.

Wikipedia is one of the world's most accessed sources of information, however, many local histories, marginalised communities, and diverse voices remain underrepresented.  By contributing to Wikipedia, Auckland Museum's Wikimedian in Residence, Anjuli Sel-va-durai, aims to democratise access to knowledge and ensure more accurate, balanced and inclusive narratives about Tāmaki Makaurau and Aotearoa, making important histories more visible and accessible to all.  Sofia spoke to Anjuli about her role and the importance of contributing to Wikipedia.  The Wiki 101 Edit-a-thon is on tomorrow, Saturday 15th March, at Auckland Museum in the Research Library on Level 2 from 10am-2pm. 

  In our latest episode of Front to the Films, we had the honor of hosting John Slemp, a distinguished photographer, author, and veteran, whose work shines a light on the stories of World War II through an unexpected yet deeply meaningful lens. His book, Bomber Boys: WWII Flight Jacket Art, is a visual masterpiece that celebrates the airmen of World War II by showcasing the artistry and stories behind their iconic flight jackets. Through this engaging conversation with our host, Colonel Tom Rendall (USA, Ret.), John takes us behind the scenes of his groundbreaking project, sharing his passion for history, the collaborative journey with world-class museums, and the inspiration he draws from his personal connection to the Greatest Generation. Key Takeaways from the Episode The Creation of Bomber Boys: WWII Flight Jacket Art John shared the motivation behind his book, which started with a desire to honor the men and women of World War II in a way that would resonate with younger generations. By focusing on flight jacket art, he uncovered a unique way to tell their stories—through symbols of identity, camaraderie, and bravery. Collaborating with Prestigious Institutions To bring his vision to life, John worked with renowned institutions, including the Smithsonian Air & Space Museum, the 390th Memorial Museum, and the National Museum of the U.S. Air Force. These partnerships provided access to rare artifacts and allowed John to capture the authenticity and emotional depth of these historical treasures. The Stories Behind the Art Each jacket featured in the book tells a story—of missions flown, comrades lost, and the enduring spirit of those who served. John revealed some of the most compelling stories he uncovered during his research, offering listeners a glimpse into the personal lives of the airmen and their families. Education and Inspiration for Future Generations John's work is about preserving history through his exceptional photography—but it's also about using it to inspire and educate. Bomber Boys: WWII Flight Jacket Art serves as a powerful teaching tool for schools and museums, connecting young people to the values and sacrifices of the Greatest Generation. Looking to the Future During the podcast, John hinted at exciting future projects, including a potential documentary based on the extensive research and stories gathered for the book. His commitment to ensuring these stories are never forgotten continues to drive his work. Why This Episode Matters John Slemp's work center's around the importance of preserving the personal stories of World War II. By focusing on something as unique as flight jacket art, he brings history to life in a way that is both accessible and deeply moving. This episode of Front to the Films reminds us that history is much more than accounts of battles—it's about people, their experiences, and the lessons they leave behind for us. Get Your Copy of Bomber Boys: WWII Flight Jacket Art Experience the artistry and history for yourself. Order your copy of Bomber Boys: WWII Flight Jacket Art today and delve into the personal stories of the airmen who helped shape the outcome of World War II. Purchase the Book Here If you're visiting our International Museum of World War II (344 Main St, South Kingstown, RI 02879), we may still have some copies there for you to look at and purchase! Listen Now Don't miss this inspiring conversation with John Slemp. Tune in to the full episode and discover how one man is using his talent and passion to ensure the stories of the Greatest Generation endure. Have thoughts about the episode? Join the conversation in the comments or share your reflections on social media using #FrontToTheFilms. Let's keep these stories alive, together.

In Utopian Ruins: A Memorial Museum of the Mao Era (Duke University Press, 2020) Jie Li traces the creation, preservation, and elision of memories about China's Mao era by envisioning a virtual museum that reckons with both its utopian yearnings and its cataclysmic reverberations.  Li proposes a critical framework for understanding the documentation and transmission of the socialist past that mediates between nostalgia and trauma, anticipation and retrospection, propaganda and testimony. Assembling each chapter like a memorial exhibit, Li explores how corporeal traces, archival documents, camera images, and material relics serve as commemorative media. Prison writings and police files reveal the infrastructure of state surveillance and testify to revolutionary ideals and violence, victimhood and complicity.  Photojournalism from the Great Leap Forward and documentaries from the Cultural Revolution promoted faith in communist miracles while excluding darker realities, whereas Mao memorabilia collections, factory ruins, and memorials at trauma sites remind audiences of the Chinese Revolution's unrealized dreams and staggering losses. Suvi Rautio is a part-time Course Lecturer at the Social & Cultural Anthropology discipline at University of Helsinki. 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 Utopian Ruins: A Memorial Museum of the Mao Era (Duke University Press, 2020) Jie Li traces the creation, preservation, and elision of memories about China's Mao era by envisioning a virtual museum that reckons with both its utopian yearnings and its cataclysmic reverberations.  Li proposes a critical framework for understanding the documentation and transmission of the socialist past that mediates between nostalgia and trauma, anticipation and retrospection, propaganda and testimony. Assembling each chapter like a memorial exhibit, Li explores how corporeal traces, archival documents, camera images, and material relics serve as commemorative media. Prison writings and police files reveal the infrastructure of state surveillance and testify to revolutionary ideals and violence, victimhood and complicity.  Photojournalism from the Great Leap Forward and documentaries from the Cultural Revolution promoted faith in communist miracles while excluding darker realities, whereas Mao memorabilia collections, factory ruins, and memorials at trauma sites remind audiences of the Chinese Revolution's unrealized dreams and staggering losses. Suvi Rautio is a part-time Course Lecturer at the Social & Cultural Anthropology discipline at University of Helsinki. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Utopian Ruins: A Memorial Museum of the Mao Era (Duke University Press, 2020) Jie Li traces the creation, preservation, and elision of memories about China's Mao era by envisioning a virtual museum that reckons with both its utopian yearnings and its cataclysmic reverberations.  Li proposes a critical framework for understanding the documentation and transmission of the socialist past that mediates between nostalgia and trauma, anticipation and retrospection, propaganda and testimony. Assembling each chapter like a memorial exhibit, Li explores how corporeal traces, archival documents, camera images, and material relics serve as commemorative media. Prison writings and police files reveal the infrastructure of state surveillance and testify to revolutionary ideals and violence, victimhood and complicity.  Photojournalism from the Great Leap Forward and documentaries from the Cultural Revolution promoted faith in communist miracles while excluding darker realities, whereas Mao memorabilia collections, factory ruins, and memorials at trauma sites remind audiences of the Chinese Revolution's unrealized dreams and staggering losses. Suvi Rautio is a part-time Course Lecturer at the Social & Cultural Anthropology discipline at University of Helsinki. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The Movie Sideways is 20 years old, and there's a new book out – Sideways Uncorked- a Perfect Pairing of Film and Wine. We talk with the authors, Kirk Honeycutt and Mira Advani Honeycutt. KCBX's Tom Wilmer checks in with Bart Topham, Director/Curator with SLO County's Veterans Memorial Museum. On Peace, Love & Pets, host Robin Coleman shares stories about senior pets and grief.

San Luis Obispo County Veterans Museum celebrates Veterans Day at the Memorial Museum

How do you make an institution that's both a museum and a memorial — at the same time?How are exhibitions like theater? Is a museum a group experience, or a personal one — or is that a trick question? When is it time to trust your gut? Why is collaboration so important? When is a single milk can the most important object in a museum? How can one single, simple philosophy inform everyone's work, from the curators to the team making mounts for the artifacts? How are the principles of making a memorial museum different from other types of museums — or are they so different after all?Alice Greenwald (Principal of Memory Matters, LLC, and past President and Chief Executive Officer of the National September 11 Memorial & Museum) joins host Jonathan Alger (Managing Partner, C&G Partners) to discuss “Making a Memorial Museum.”Along the way: spackling, reverence, and what happens when a museum director leaves their office door open.Talking Points:0. What is a Memorial Museum?1. Start With Authenticity2. It's About Storytelling 3. Museums Are Not Books 4. Practice Conscientious Listening5. Trust Your Gut6. Collaboration is RequiredHow to Listen:Making the Museum: https://www.makingthemuseum.com/podcast Apple Podcasts: https://podcasts.apple.com/us/podcast/making-the-museum/id1674901311 Spotify: https://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G Everywhere: https://makingthemuseum.transistor.fm/ Guest Bio:Alice M. Greenwald is internationally recognized as a leader in the field of museum practice, with expertise in history, ethnic heritage, and memorial museums. Currently the principal of Memory Matters, LLC, providing strategic advice to museums, memorial projects, senior executives, and boards, she served as President and Chief Executive Officer of the National September 11 Memorial & Museum from 2017-2022 and from 2006 to 2016, as the organization's Founding Museum Director and Executive Vice President for Exhibitions, Collections and Education. Previously, she was Associate Museum Director, Museum Programs, at the United States Holocaust Museum in Washington, DC. Alice serves on the boards of the Aurora Humanitarian Initiative and the United Kingdom Holocaust Memorial Foundation and is a Trustee Emerita at Central Synagogue in New York City. She is First Vice President of The Lotos Club, and in January 2024, concluded her service as a board member of the International Council of Museums-US. She holds an M.A. in the History of Religions from the University of Chicago Divinity School, and a B.A with concentrations in English Literature and Anthropology from Sarah Lawrence College, where she delivered the commencement address to the class of 2007. About MtM:Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. This podcast is a project of C&G Partners | Design for Culture. Learn about the firm's creative work at: https://www.cgpartnersllc.com Links for This Episode:Alice by Email:alice.m.greenwald@gmail.com Alice at Memory Matters:https://www.memorymattersllc.com National September 11th Memorial & Museum:https://www.911memorial.org United States Holocaust Memorial Museum:https://www.ushmm.org Links for MtM, the Podcast:https://www.makingthemuseum.com/contact https://www.linkedin.com/in/jonathanalger alger@cgpartnersllc.com https://www.cgpartnersllc.com Discover Making the Museum, the Newsletter:Liked the show? You might enjoy the newsletter. Making the Museum is also a free weekly professional development email for exhibition practitioners, museum leaders, and visitor experience professionals. (And newsletter subscribers are the first to hear about new episodes of this podcast.)Join hundreds of your peers with an ad-free quick one-minute read, three times a week. Invest in your career with a diverse, regular feed of planning and design insights, practical tips and tested strategies — including thought-provoking approaches to technology, experience design, visitors, budgeting, content, and project management, to name just a few.Subscribe here (and unsubscribe at any time):https://www.makingthemuseum.com 

The building that houses The Ostos Memorial Museum has a rich history in Las Cruces, NM, originally starting out as a school in 1915. The building was then the home of a furniture store, where Josie Ostos started working when she was 17 years old. After her husband passed away, the furniture store was converted into a museum to showcase some of the antiques her and her husband collected. This week we have an interview with Josie, where she shares some of the paranormal activity she's witnessed there, the hauntings some of her guests and family have experienced, and what this building means to her and her family. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠o⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠k⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @GreetingsTAC, email us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠GreetingsTAC@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or leave us a voicemail at ‪‪⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠915-317-6669⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ if you have a story to share with us. If you like the show, leave us a review, tell a friend, and subscribe! Visit us on the web at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TechnicallyAConversation.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Contest: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.technicallyaconversation.com/Contest⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Episode Page: https://www.technicallyaconversation.com/episodes/Ostos-Memorial-Museum If you would like a tour of The Ostos Memorial Museum, you can contact Josie Ostos at 575-524-2232 to schedule an appointment. Thank you so much Josie for inviting us to your museum to record our show and sharing your stories with us! Pictures of the museum are on our Patreon and website under the episode page. Thank you so much Super Friends for allowing us to be a part of your life for the past 3 1/2 years! #Podcast #Comedy #PopCulture #Educational #Science #History #Shorts #TrueStory #Haunted #Museum #LasCruces #NewMexico #Ghosts

In 1945, the RAF and USAAF flew two remarkable operations. Mana and Chowhound were missions to deliver food and vital medical supplies to break the 'Hunger Winter' famine in Occupied Holland. A truce with the Nazis was agreed and the bombers flew unopposed to drop their vital cargo. In Hilversum, south of Amsterdam, was 14-year-old Lucy Hanson, who saw food fall from the sky. Today Lucy joins us to tell her incredible story of life under Nazi occupation and the day she no longer feared the bombers.★View the Nationaal Archief 'Hongerwinter' photo collection here: https://www.nationaalarchief.nl/onderzoeken/zoeken?activeTab=photos&resultsPerPage=48&rm=gallery&searchTerm=hongerwinter★Be sure to check out the 390th Memorial Museum's website at https://www.390th.org/★Watch our tour of the 390th's B-17G I'll Be Around here: https://youtu.be/cR6J_ZPC0ys★Get the latest from the Pima Air and Space Museum by following their socials!Website: https://pimaair.org/https://www.facebook.com/PimaAirAndSpacehttps://www.instagram.com/pimaairhttps://www.x.com/pimaairhttps://www.youtube.com/c/PimaAirSpaceMuseum★Become a Damcasteer today on Patreon! Join from just £3+VAT a month to get ad-free episodes, chat with Matt and a welcome pack. Click here for more info: https://www.patreon.com/thedamcastersThe Damcasters © 2024 by Matt Bone is licensed under Attribution-ShareAlike 4.0 International00:00 Introduction02:11 Life Under Nazi Occupation12:18 The Hunger Winter17:08 NASA's SOFIA Aircraft at PASM20:16 Food Falling From the Sky29:27 British Tanks Arrive in Hilversum36:42 Reflections on the B-1738:44 Conclusion and Become a Damcasteer! Hosted on Acast. See acast.com/privacy for more information.

September 11, 2024 ~ On the 23rd anniversary of the attacks on September 11, Guy, Lloyd, and Jamie talk with 9/11 Memorial Museum director Cliff Chanin about what the New York museum has planned for today, and how the younger generation can be educated about the horrific event.

On this special episode of the DOT POD, Josh and Anya travel to the National September 11 Memorial & Museum in New York City on the eve of the 23rd anniversary of that tragic day. Listen in as they speak with two former DOT employees, Mukesh Desai and Craig Ruyle, who worked right around the corner from the Towers. They'll take us through the events of that day and the aftermath in the days that followed, and how the New York State Department of Transportation helped aid in the cleanup and recovery. They also welcome in the Chief Curator of the 9/11 Memorial Museum, Jan Ramirez, and talk about the importance, and the responsibility, of ensuring we never forget the events of that fateful day.

“The client's role is not to solve the problem — it's to state the problem.”What's the client's perspective in major cultural projects? What are “client user groups?” What's the difference between advocating for the client, and advocating for the project? How do you “inhabit your project?” How might a single gender-inclusive restroom project change an entire institution? Should every project have a “super contingency” in the budget?Amy Weisser (Deputy Director for Strategic Planning and Projects at Storm King Art Center) joins host Jonathan Alger (Managing Partner, C&G Partners) to discuss “The Client Side of Major Projects.”Along the way: P.P.E., trusting the hiring decisions, and a 2,000-year-old Roman theory that still works today.Talking Points:1. The Three-Legged Stool: Vision, Schedule, Budget 2. Client Advocate, Project Advocate, User Advocate 3. Museum Building Projects are Linear, Not Cyclical 4. All Projects are Transformational 5. Project Phases: Watercolors to Hard Hats 6. Disasters DO Happen 7. Build Your ValuesHow to Listen: Apple Podcastshttps://podcasts.apple.com/us/podcast/making-the-museum/id1674901311 Spotifyhttps://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G Everywherehttps://makingthemuseum.transistor.fm/ Guest Bio:Amy Weisser is Deputy Director, Strategic Planning and Projects at Storm King Art Center, where she incubates projects focused on strategic growth. Weisser has spent 30 years supporting cultural institutions undergoing profound development. Prior to Storm King, Weisser led exhibition development for the National September 11 Memorial Museum from 2005 to 2017 and helped open the contemporary art museum Dia:Beacon and the American Museum of Natural History's Rose Center for Earth and Space. She has taught Museum Studies at New York University. Weisser holds a doctorate in Art History from Yale University. She is a co-author of Martin Puryear: Lookout (GRM/SKAC, 2024). About MtM: Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. This podcast is a project of C&G Partners | Design for Culture. Learn about the firm's creative work at: https://www.cgpartnersllc.com Links for This Episode: Amy's Email: as.weisser@stormkingartcenter.org Amy's LinkedIn:https://www.linkedin.com/in/amysweisser/ Storm King: www.stormking.org Storm King's Capital Project:https://stormking.org/capitalproject/Building Museums Symposium, a project of the Mid-Atlantic Association of Museums: https://midatlanticmuseums.org/building-museums/Links for MtM: https://www.makingthemuseum.com/contact https://www.linkedin.com/in/jonathanalger alger@cgpartnersllc.com https://www.cgpartnersllc.com Newsletter: Like the show? Try the newsletter. Making the Museum is also a one-minute email, three times a week, on exhibition planning and design for museum leaders, exhibition teams and visitor experience professionals. (And the best way to find out first about new episodes of the podcast.)Subscribe here: https://www.makingthemuseum.com 

Russ chats on location in Columbus, Ohio with Marnie Holder of the National Veterans Memorial & Museum!

“Minsan may mga visitors, Martial Law survivors, tapos they point [at] kung ano yung [ginamit] sa kanila for torture. It's a very heavy subject pero it's real, it happened.“Reporter Bella Perez-Rubio visit the Freedom Memorial Museum Gallery, an exhibit run by the Human Rights Violations Victims Memorial Commission featuring artifacts and insights from survivors of the Marcos dictatorship. From the "Teka Teka" podcast.For more stories like this, subscribe to Teka Teka News Hosted on Acast. See acast.com/privacy for more information.

Dr. Matt Naylor - President of WW1 Memorial Museum | 5-24-24See omnystudio.com/listener for privacy information.

This summer the Edgar Lee Masters Memorial Museum is hosting a lecture and music series called Masters Back Porch Chautauqua. All events in the series take place on the 3rd Sunday of May through September. Dr. Ethan Stephenson and board member Terri Treacy spoke to Community Voices about the series, the history of Chautauqua, and how visitors can view the Edgar Lee Masters home.For more information visit: https://elmhome.org/https-elmhome-org-event/

In Episode 3 of Season 5 Mike welcomes back a listener favorite from Season 4 (S4E1 guest Rachael Lawrence-Lupton) and THREE other members of the Lawrence-Lupton family: David, Daniel and even Elle (all three are also good friends of Mike's!) for a spirited discussion of the 2023 Michigan football vs UNLV game.Follow the podcast on Twitter: @friendsofmikedEmail the podcast at talkingfriendship@gmail.comKey moments from the pod: 0:30: Mike welcomes listeners to S5E3 and breaks down the plan for the episode.3:00: Mike then corrects a few embarrassing errors from S5E2, including Mike using the term “native city” for the City of Detroit, mixing up the shows Hey Dude! with Salute Your Shorts, and when the first Gavin and Stacey Christmas Special happens in the sequence of the show.8:15: Next up Mike recounts his recent trip to New York City, from taking advantage of public transit to seeing the Statue of Liberty and Ellis Island (and not showing up his tour guide) to food and drink tours to the Tigers/Yankees game as well as checking out the One World Observatory and 9/11 Memorial Museum.17:15: Mike then explains his special attachment to UNLV and honors that attachment with his favorite Vegas-themed song.22:00: Mike welcomes on his three guests for this special episode (Rachael, David, and Daniel Lawrence-Lupton) along with a cat.  David then gives some background on himself as having grown up in Ann Arbor along with Rachael. Daniel then introduces himself to the podcast community by talking about his personal friendships with several University of Michigan football players.27:30: Daniel then vividly describes how excited he was to attend his first Michigan game in person.28:30: The crew talks about the last time they all saw each other, including when Daniel took down Mike in chess as well as how they were feeling about Michigan football heading into the 2023 season.30:00: Next up: passionate and well reasoned thoughts from the Lawrence-Luptons on how they thought Michigan was going to do coming into the 2023 football season.32:30: Miike sets the stage for the UNLV game34:00: The gang talks about their shared passion of tailgating and the tradition of David, Rachael and their families stopping by with Rachael's signature shortbread, a KEY ingredient to Michigan home victories!37:45: Next up is a detailed/vivid recap of the game itself.46:30: The crew talk about what they were feeling coming out of this game about the Michigan team and the rest of the season, including Daniel NEEDING to get to more games (but NOT a night game).51:00: The Lawrence-Luptons talk about what it is about Michigan football keeps them coming back year after year.

One of America's most iconic photographers, widely recognized for his fine art, editorial and commercial work. Stephen's pictorial stories of Mainland China, California's Highway One, Ellis Island, the ravages of Hurricanes Katrina and Sandy and an impressionistic study of Burned Objects set the tone for a series of career-defining projects that catapulted him to the top of the photographic landscape. Stephen's work has been featured on NPR and CBS Sunday Morning as well as being on the covers of New York Times Magazine, Vanity Fair, Time, Fortune, National Geographic, Sports Illustrated, and many others. Day to Night, Wilkes' most defining project, began in 2009. These epic cityscapes and landscapes, portrayed from a fixed camera angle for up to 30 hours, capture fleeting moments of humanity as light passes in front of his lens over the course of a full day. Blending these images into a single photograph takes months to complete. His photographs are included in the collections of the George Eastman Museum, James A. Michener Art Museum, Houston Museum of Fine Arts, Dow Jones Collection, Carl & Marilynn Thoma Art Foundation, Jewish Museum of NY, Library of Congress, Snite Museum of Art, The Historic New Orleans Collection, Museum of the City of New York, 9/11 Memorial Museum, Fenimore Art Museum, Art in Embassies, U.S. Department of State and numerous private collections. 

We return to the 390th Bomb Group Memorial Museum to tour their Boeing B-17G Flying Fortress 'I'll Be Around' with the museum's Business and Operation Manager Alex Chambers and Executive Director Bill Buckingham. While this B-17 didn't see combat, her service history makes her a unique survivor. We then head upstairs with Director of Archives and Collections Keith Cook to check out the museum's remarkable collection of original A-2 flying jackets from the men of the 390th Bomb Group.★Be sure to check out the 390th Bomb Group Memorial Museum's website at: https://www.390th.org/★Become a Damcasteer today on Patreon! Join from just £3+VAT a month to get ad-free episodes, chat with Matt and grab some merch. Click here for more info: https://www.patreon.com/thedamcastersGet the latest from the Pima Air and Space Museum through the links below:★Visit the Pima Air and Space Museum's website here: https://pimaair.org/★Learn more about the Titan Missile Museum here: https://titanmissilemuseum.org/★Find out who is in the Arizona Aviation Hall of Fame here: https://pimaair.org/about-us/arizona-aviation-hall-of-fame/★Want to know how the Tucson Military Vehicle Museum is progressing? Find out more here: https://www.tucsonmilitaryvehicle.org/The Damcasters © 2024 by Matt Bone is licensed under Attribution-ShareAlike 4.0 International Hosted on Acast. See acast.com/privacy for more information.

Page CEO Thomas McCarthy and Davis Brody Bond partner Steven Davis join the podcast to discuss the new partnership between the two firms, the design process of the 9/11 Memorial & Museum, and how Page is expanding its footprint in New York City. CLAIM CEU CREDITS HERE

Principal architect Steven Brody from Davis Brody Bond and Thomas McCarthy, CEO of Page, discuss their collaboration on projects, including embassy design. The episode focuses on the spirit of collaboration and high-pressure projects, such as the 9/11 Memorial Museum, that come under a lot of scrutiny but can ultimately serve as impactful impressions in a firm's portfolio. Learning objectives   -       Discuss how the Pablo Picasso quote “Good artists borrow, great artists steal” fits into these firms' philosophy on collaboration. -       Describe the historical context that led to Davis Brody Bond's involvement in the design of the 9/11 Memorial Museum. -       List some of the key stakeholders and requirements the firm had to satisfy for the 9/11 Memorial Museum project. -       Explain what makes for a good embassy design, according to these architects. Credits: 0.5 AIA LU/HSWSpeaker: Aaron Prinz

Russia's war against Ukraine has escalated significantly this year, but did not start in February last year, or even in 2014. Its roots are far deeper, and more malign than just territorial ambitions. Today I am exploring how tyranny left unchallenged with continue to fester and project aggression towards its neighbours. Russia's attempts to dominate Ukraine have deep roots in its Soviet and imperialist past and are very much a result of the failure to acknowledge the crimes of its totalitarian history. ---------- Olha Honchar is CEO of the “Museum Crisis Centre” initiative, which arose in the first days of the Russian war against Ukraine. Co-founder of the NGO “New Museum” and the Charitable Organization “Cultural Heritage Fund of Ukraine”. Olha is a culturologist, anti-crisis manager and Director of the Memorial Museum of totalitarian regimes “Territory of Terror” in Lviv. Ahe is an internationally recognised curator of interdisciplinary projects in the field of historical memory and trauma. ---------- LINKS: https://museumterror.com/en/publications_category/all/ https://www.instagram.com/honchar_o/ https://www.linkedin.com/in/olha-honchar-b7b63374/ https://bookforum.ua/en/participants/13271 ---------- ARTICLES: https://trafo.hypotheses.org/39379 https://www.frieze.com/article/olha-honchar-ukraine-dossier-232 https://uacrisis.org/en/62144-olha-honchar https://atmos.earth/ukraine-war-culture-art-musem-loss-destruction/ https://www.csmonitor.com/Daily/2022/20220314/Art-and-the-telling-of-Ukraine-s-story https://tvoemisto.tv/en/exclusive/we_want_to_survive_not_starve_to_death_and_preserve_the_museum_exhibits_137772.html https://newlinesmag.com/reportage/ukraines-war-museums-are-documenting-history-as-it-happens/ https://www.aargauerzeitung.ch/kultur/krieg-in-der-ukraine-schutz-von-kulturguetern-gibt-es-fuer-ukrainische-kunstschaetze-asyl-in-schweizer-museen-ld.2272530 https://hyperallergic.com/719347/this-group-is-helping-museum-workers-in-ukraine/ https://www.theguardian.com/world/2022/mar/09/ukrainians-in-race-to-save-a-nations-cultural-heritage https://www.nytimes.com/2022/08/08/arts/design/ukraine-museums-art-protection.html https://artreview.com/art-workers-at-war-how-the-ukrainian-artworld-has-rallied-to-protect-cultural-heritage/ https://www.youtube.com/watch?v=1fD--hKZPjQ ----------

Gamers of the world rejoice! Because VGATWTOE is back to make fun of all the incredibly terrible things that constitute our beloved hobby, enjoy! A podcast that reveals the truth about video games that those other video game podcasts don't want you to know. Co-hosts: Alton, Kay and Reese Intro music: Video Games by Envyneslies Envyneslies – Video-games Thank you to Angelvila for the logo! Patreon: https://patreon.com/vgatwtoe Main Account: https://twitter.com/vgatwtoe Linktree: https://linktr.ee/vgatwtoe Reese: https://twitter.com/yourverygoodbud ALTON: https://linktr.ee/rudefoxalton Kay: https://linktr.ee/kayandskittles

On this week's episode, the boys make recommendations for their favorite city in the world: New York City! NYC has SO MUCH to do it can be overwhelming, so let Kiernan and Ryan recommend their curated must-do list for a first trip to the city—museums, theater, and famous landmarks abound! Things we talk about in this week's episode: American Museum of Natural History https://www.amnh.org/  The Met Museum https://www.metmuseum.org/ MoMA https://www.moma.org/  The Cloisters https://www.metmuseum.org/visit/plan-your-visit/met-cloisters  Statue of Liberty https://www.statueofliberty.org/statue-of-liberty/  Ellis Island https://www.statueofliberty.org/ellis-island/  Tenement Museum https://www.tenement.org/  Grand Central Terminal https://www.grandcentralterminal.com/  New York Public LIbrary (you want to go to the Main Branch) https://www.nypl.org/  The Morgan Library https://www.themorgan.org/  Empire State Building (see it, don't go up) https://www.esbnyc.com/  9/11 Memorial Museum https://www.911memorial.org/  Time Square https://www.timessquarenyc.org/  Broadway shows https://www.broadway.com/shows/tickets/  TKTS https://www.tdf.org/discount-ticket-programs/tkts-by-tdf/tkts-live/  “Scoring Broadway Tickets” episode https://podcasts.apple.com/us/podcast/scoring-broadway-tickets/id1438098925?i=1000433455504  Tulcingo de Valle https://www.tulcingorestaurant.com/  Central Park https://www.centralparknyc.org/  The High Line https://www.thehighline.org/  New Rules for Visiting Europe https://www.npr.org/2023/07/27/1190453405/europe-travel-visa-etias-how-to-apply  Atomic Bomb Statue on Upper West Side https://www.roadsideamerica.com/story/24212#:~:text=Fifteen%20feet%20tall%2C%20made%20of,that%20leveled%20Hiroshima%20in%201945

Hey there travel hackers! Join us today as we share our favorite tips for using points and miles to plan a trip to New York City. New York City holds a special place in our hearts, and through travel hacking we've discovered incredible ways to explore this vibrant city. Getting to New York City is a breeze, thanks to the multitude of airlines that fly there.  When it comes to airport hotels, the options at JFK and LaGuardia are worth considering.  When it comes to accommodations in New York City, we have a range of recommendations. There is the highly rated and luxurious Park Hyatt New York, known for its spacious rooms and impressive indoor pool. Jess suggests the family-friendly Residence Inn New York Manhattan/Midtown East, which offers complimentary breakfast and spacious rooms with kitchenettes.   In terms of activities and places to eat, we highlight a few must-visit places. Los Tacos No. 1 in Chelsea Market is at the top of Alex's list, giving high praise for its delicious and affordable tacos. Taking a stroll along the High Line, a public park built on an elevated historic rail line, is also high on our list for its beautiful views and greenery. The 9/11 Memorial Museum is a moving and well-designed experience, offering a deeper understanding of the tragic events. The Statue Of Liberty, Central Park, and Central Park Zoo are great places for families to explore.  Want to know how you can visit the city that never sleeps for nearly free? Hit that play button and find out more of our travel hacking tips on how to make your travel dreams a reality!    Links:  Free Gifts and Resources To Start Your Travel Hacking Journey: Free Webinar: How to Start Traveling for Nearly Free Best Current Credit Card Offers: Best Rewards Card Offers | Travel Hacking Mom Award Travel Academy: Award Travel Academy Our Website: https://travelhackingmom.com Connect With Us: Newsletter signup: https://travelhackingmom.com/newsletter Instagram: Alex + Pam + Jess | Points & Miles (@travelhackingmom) TikTok: travelhackingmom's Creator Profile Facebook group: Travel Hacking Mom Group | Facebook Links For This Episode:  The TWA Hotel Hyatt Regency JFK at Resorts World Hyatt Place Flushing/La Guardia Airport Crowne Plaza JFK Park Hyatt NYC Residence Inn New York Manhattan/Midtown East Hotel Indigo Lower East Side Thompson Central Park   Episode Minute By Minute: 00:02 Ready to travel to the Big Apple for nearly free? 02:00 Alex shares her preferred airline options to fly to New York City. 03:15 Pam talks about her preference for United Airlines and their flights to LaGuardia or Newark. 04:07 Jess shares her experience flying various airlines to New York City. 06:20 Discussion about using New York City as a starting point for international travel. 07:00 Review of airport hotels, including the TWA Hotel at JFK 13:30 Transition to Manhattan hotels and discussion of staying at the Park Hyatt New York. 15:25 Alex shares her positive experience at the Park Hyatt New York. 21:40 They discuss the Residence Inn New York Manhattan/Midtown East as a good option for families 23:02 Jess mentions her stay at the Hotel Indigo Lower East Side, and the varying points required for IHG stays in New York. 25:50 They discuss the Hyatt Find Experiences program, specifically for Broadway shows, and the ability to earn Hyatt points by booking through it. 38:14 They express their love for hotel hopping and mention the desire to try different hotels in New York City.  39:08 They conclude the episode by discussing their plans for future stays in New York City.  

Back from the archives! We loved our discussion with Dr. Andrew Hammond, Historian and Curator of the International Spy Museum so much that we brought it back for your enjoyment this week! Hammond takes us through the classic period of espionage and the reliance on physical data and spycraft techniques to transport through to the modern day battlefield of cyber intelligence and espionage. And he provides insights on the historical throughlines of attacks that haven't really changed over the centuries, by and large what is being sought is the same it is simply the mechanism by which exploits are executed have evolved. He also lends perspective on the cyber threat landscape ahead, and asks is this the dreadnought moment? Dr. Andrew Hammond, Historian & Curator at the International Spy Museum Dr. Andrew Hammond is Historian & Curator at the International Spy Museum. His interest in intelligence came from a period of service in the Royal Air Force, with secondments to the British Army and the Royal Navy. He specializes in military and intelligence history and is fascinated by how the artifacts at the Museum – whether an Enigma Machine, a Stinger Missile or the Jester's Laptop – help tell personal stories and larger historical narratives. He is the author of a forthcoming book entitled, Struggles for Freedom: Afghanistan and US Foreign Policy Since 1979 and is working on another book that tells the story of 9/11 and the post-9/11 wars through the voices of military and intelligence veterans. He has taught at a number of institutions on both sides of the Atlantic and has held fellowships at the British Library, the Library of Congress, New York University and the University of Warwick. He was formerly a Mellon Public Humanities Fellow at the 9/11 Memorial Museum and is currently a Public Policy Fellow at the Wilson Center. He hosts SpyCast, the Museum's podcast, and has taken acting and public speaking courses in London, New York, Birmingham and Washington, DC. For links and resources discussed in this episode, please visit our show notes at https://www.forcepoint.com/govpodcast/e235

A visit to the Central Coast Veterans Memorial Museum in San Luis Obispo, CA

A museum honouring New Zealand soldiers is due to open in France this year. The New Zealand Liberation Museum will open in mid-October. Weta Workshop has built part of the exhibit, which honours the Kiwi soldiers who freed the French town of Le Quesnoy in 1918. New Zealand Memorial Museum Trust chair Sir Don McKinnon told Tim Dower it's highly significant. “The special thing is, this will finally be a place on the Western Front where you can hear about and read about the New Zealand stories.” LISTEN ABOVESee omnystudio.com/listener for privacy information.

In Part Two of their series on spectacular death, Ellie and Carrie speak with sisters Jessica and Leila Murphy, who lost their father Brian in the North Tower of the World Trade Center on September 11, 2001.  He was 41 years old, Jessica 5 and Leila almost 4. Since that terrible day, Jessica and Leila have had to grow up not only without a father but also with the complexities that come with losing him in the attacks.   From their inability to grieve privately to the invocation of their father's name to justify two wars and countless acts of violence, Jessica and Leila have struggled with the meaning and responsibilities of victimhood. Now 26 and 25, they are part of 9/11 Families for Peaceful Tomorrows, which advocates nonviolent options in pursuit of justice, including closing the prison at Guantanamo Bay.We discuss Leila's 2021 piece in The Nation “I Lost My Father on 9/11, but I Never Wanted to Be a ‘Victim,'” Jessica's 2019 essay in The Indy, “Among the Iguanas: On life and the pursuit of death in Guantánamo Bay,” and a 2003 Brown Alumni Magazine profile on their mother Judy Bram Murphy's widowhood.  The sisters also offer thoughtful insight into successes and shortcomings of the 9/11 Memorial & Museum as a force of public instruction.Other works cited are “The Aesthetics of Absence” by Marita Sturken, Ambiguous Loss by Pauline Boss, The Land of Open Graves by Jason De León, Julia Rodriguez's 2017 op-ed for the New York Times “Guantanamo Is Delaying Justice for 9/11 Families,” Rachel Kushner's 2019 feature on Ruth Wilson Gilmore and prison abolition for the New York Times, The Ten-Year Nap by Meg Wolitzer, and My Year of Rest and Relaxation by Ottessa Moshfegh. Films mentioned are World Trade Center (2006), United 93 (2006), The Mauritanian (2021), and The Report (2019).

Royal Albert Memorial Museum and Art Gallery, Exeter RAMM's world-class collections and ambitious programming ensure that the museum is a place of discovery which encourages everyone to be curious, and inspires us to shape a better future. Our museum is a service of Exeter City Council, its major funder. RAMM is also an Arts Council England National Portfolio Organisation. Following a major redevelopment project, in 2012 RAMM received the UK's most significant sector award, the Art Fund Prize for Museum of the Year. https://rammuseum.org.uk

Elsie Robinson. Know her name? Probably not. Yet, Elsie Robinson was once the most influential newspaper columnist in America and it's time her story was told. Allison Gilbert has done just that in her new book, "Listen, World! How the Intrepid Elsie Robinson Became America's Most Read Woman." It's an inspiring tale, shared in the next 30 minutes with author Allison Gilbert and host Jaci Clement. ABOUT THE AUTHOR Allison Gilbert is the author of numerous books, including the much-anticipated first biography of American writer and syndicated newspaper columnist Elsie Robinson (1883-1956), published in 2022 by Seal Press, an imprint of Hachette Book Group. Her book, Passed and Present: Keeping Memories of Loved Ones Alive, reveals creative ways to remember family and friends we never want to forget. To mark the 20th anniversary of 9/11, Allison is executive producer of two film projects in collaboration with the 9/11 Memorial & Museum: a documentary called, "Reporting 9/11 and Why It Still Matters,” and a 20-part series, "Women Journalists of 9/11: Their Stories.” Featured journalists include Tom Brokaw, Savannah Guthrie, the New York Times' Maggie Haberman, NPR's Linda Wertheimer, and 60 Minutes' correspondent and anchor Scott Pelley, and many others. Please take a moment to follow her on Instagram, Twitter, and Facebook. She's everywhere as “agilbertwriter." (SOURCE: Amazon.com) ABOUT FMC FAST CHAT The official podcast of the Fair Media Council, FMC Fast Chat features notables in news, media, and business. Be in the know in 30(ish) minutes. The Fair Media Council is a 501c3 nonprofit organization advocating for quality news and working to create a media-savvy society. Find out more at fairmediacouncil.org GUEST BOOKING INQUIRIES Please email bookings@fairmediacouncil.org Learn more about your ad choices. Visit megaphone.fm/adchoices

LTG (R) Michael Ferriter, President and CEO of the National Veterans Memorial & Museum, joins SMA Tilley for the first of two episodes in honor and commemoration of Memorial Day. LTG (R) Ferriter enlightens us on the amazing work that is being done to capture the spirit and the memory of Veterans at this amazing Memorial & Museum. In addition, he highlights a special program called “Inspiring Stories of Service” and how Veterans can participate. Website for merchandise for Your Next Mission™ https://yournextmission.org/merchandise/ National Veterans Memorial and Museum https://nationalvmm.org/ --- Send in a voice message: https://anchor.fm/yournextmission/message

Allison Gilbert is an award-winning journalist and co-author of Listen, World!, the first biography of American writer Elsie Robinson, a newspaper columnist who came from nothing and became the most-read woman in the country and highest-paid woman writer in the William Randolph Hearst media empire. The New York Times raves “One does not tire of spending time with Elsie Robinson” and the Wall Street Journal proclaims the book “an important contribution to women's history.” Susan Orlean effuses the biography is “the rarest of things — a lively piece of unknown history, a marvelous story of a woman's triumph, and a tremendous read.” Gilbert is host of “Women Journalists of 9/11: Their Stories,” a 20-part documentary series produced in collaboration with the National September 11 Memorial & Museum. For this, she interviewed such luminaries as Savannah Guthrie, Maggie Haberman, Dana Bash, and Linda Wertheimer. She is co-executive producer of the companion 2-hour film that featured, among many others, Tom Brokaw, Rehema Ellis, Ann Thompson, Scott Pelley, Byron Pitts, Ann Compton, and Cynthia McFadden. Gilbert is the official narrator of the 9/11 Memorial Museum's historical exhibition audio tour, the only female journalist to be so honored. Allison Gilbert writes regularly for the New York Times and other publications. On her blog, she features Q & A's with some of the most notable names in our culture today including, Arianna Huffington, Jon Stewart, Henry Louis Gates Jr., Dani Shapiro, and Gretchen Rubin. Allison is co-editor of Covering Catastrophe: Broadcast Journalists Report September 11 and author of Always Too Soon: Voices of Support for Those Who Have Lost Both Parents, Parentless Parents: How the Loss of Our Mothers and Fathers Impacts the Way We Raise Our Children, and Passed and Present: Keeping Memories of Loved Ones Alive. Gilbert lives in New York with her husband and two children. You can connect with her on Facebook, Twitter, and Instagram     Events: Wednesday, November 9 New York Public Library — IN PERSON 6:00pm ET 476 5th Ave, New York, NY 10018 A special evening with Sunny Hostin (co-host of ABC's The View and author of Summer on the Bluffs) https://www.nypl.org/events/programs/2022/11/09/allison-gilbert-sunny-hostin-listen-world   Wednesday, November 16 Society of Illustrators — VIRTUAL 6:00pm ET In conversation with Liza Donnelly (New Yorker cartoonist and author of Very Funny Ladies: The New Yorker's Women Cartoonists) https://societyillustrators.org/event/listenworld/   Friday, November 18 New-York Historical Society — IN PERSON 7:00pm ET 170 Central Park West, New York, NY 10024 In conversation with Brooke Kroeger (founding director of the Arthur L. Carter Journalism Institute at NYU and author of the forthcoming Undaunted: How Women Changed American Journalism and Julie Golia (associate director of Manuscripts, Archives, and Rare Books at NYPL and the author of Newspaper Confessions: A History of Advice Columns in a Pre-Internet Age) https://www.nyhistory.org/programs/listen-world-elsie-robinson-newspaper-columnists?date=2022-11-18   Tuesday, November 29 Books & Books Key West — VIRTUAL 7:00pm ET In conversation with Christina Baker Kline (author of The Exiles) https://booksandbookskw.com/events/gilbert/

The extremely quotable and often misquoted Will Rogers is Oklahoma's most-famous celebrity and this week the editors talk to Tad Jones, director of the Will Rogers Memorial Museum and Birthplace Ranch. Plus, we plan out your week with Podvents and hear your always entertaining answers to the Question of the Week. We hope you listen!

The reflecting pools of the 9/11 Memorial & Museum are surrounded by the names of the thousands who were killed on Sept. 11, 2001 — but the order of the names is not well known. The architects behind the memorial design came up with a concept they called “meaningful adjacencies.” That concept shows the web of relationships of the victims and personalizes each name. The sorting of the nearly 3,000 names, however, was an arduous, years-long process of research and organization. Pat Kiernan speaks with the architect who took on this task to ensure each victim and their relationships would be recognized — and that their families could gather on visits for years to come.

From January 25, 2022: In this bonus episode of Chatter, David Priess talks with professor and author Marita Sturken about 9/11-related memorials, museums, and architecture. Her research and writings have examined everything from visual culture to the connection between memory and consumerism, with much of her recent work addressing memory of the attacks on September 11, 2001, as both the battleground and the site for negotiations of national identity.In this conversation, they talked briefly about various historical memorials and the purposes of such work before comparing and contrasting the 9/11 memorials around the country and those at Ground Zero, next to the Pentagon, and in Somerset County, Pennsylvania. They also discussed controversies surrounding the National September 11 Memorial Museum (commonly called the "9/11 museum"), including those about its gift shop and about human remains currently in the facility.Chatter is a production of Lawfare and Goat Rodeo. This episode was produced and edited by Cara Shillenn of Goat Rodeo.Support this show http://supporter.acast.com/lawfare. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

TEL AVIV - It's not every day that our show features the CEO of a professional rugby team out of Israel, but that's the case this week with Pete Sickle, an LA guy now running the Tel Aviv Heat. And he's talking Major League Rugby synergy, folks... Also, Devin O'Brien of the stellar Memphis Inner City Rugby program joins us, re their improbable journey and celebration of their 10th anniversary - at Graceland! You can be there... We also have the touching story of the Manhattan Rugby Club's Nick Rowe, whom we lost on 9/11. But this is an uplifting story about a special rugby ball and we need your help and connecting some dots for the 9/11 Memorial Museum.... Oh, and how 'bout dem Raptors?! Not those killing it in Rugby Town but the High School Champs at Ravenwood High School! Watch... Listen/Download the Podcast version... Please share and join our weekly newsletter: http://rugbywrapup.com/weekly-updates/ Find All Here: -Web: http://www.RugbyWrapUp.com -Twitter: https://twitter.com/RugbyWrapUp @RugbyWrapUp, @Matt_McCarthy00, @JonnyLewisFilms, @LizardRugby, @LanningZach, @ColbyMarshall2, @Junoir Blaber, @JWB_RWU, @MeetTheMatts, @Declan Yeats. -Face Book: https://www.facebook.com/RugbyWrapUp -Instagram: https://www.instagram.com/RugbyWrapUp -YouTube: https://www.youtube.com/RugbyWrapUp -Reddit: https://www.reddit.com/user/RugbyWrapUp #USARugby #MajorLeagueRugby #RugbyWrapUp #OldGlory #RugbyATL #MLR2020 #SixNations #WorldRugby #SuperRugby #Top14 #PremiershipRugby #Pro14 #URC #UnitedRugbyChampionship #RugbyOdds #rugbybetting Music from Uppbeat (free for Creators!): https://uppbeat.io/t/pecan-pie/flip-it License code: YEABWNWQ1D9WGSLI

The Bros discuss the Stories From the Road video related to the OKC museum and Memorial that was bombed by a domestic terrorist in 1995. We talk about how we remember and memorialize these places and events. For More Info: Oklahoma City National Memorial & Museum (memorialmuseum.com) Please visit https://www.historybros.com/. The History Bros Podcast: https://anchor.fm/history-bros The History Bros YouTube channel: https://www.youtube.com/channel/UCxB9iJN6Uj6MrIoSfUQ07Nw Be sure to subscribe so that you don't miss out on podcasts or videos from The History Bros! History is everywhere. Go out and find it. --- Support this podcast: https://anchor.fm/history-bros/support

With the artist Xavier Veilhan and the landscape designers of the TER Agency, the French architecture offices Coldefy and RDAI have won in 2019 the National Pulse Memorial & Museum competition. A building that will soon be built in homage to the victims of the Orlando (Florida) discotheque massacre in 2016. Coldefy is the mandatory of the project.Isabel Van Haute and Thomas Coldefy, fondators and managers of the Coldefy office, explain in the podcast how this project inspired them. As they won in front of Studio Libeskin or MVRDV... a very touching testimony!Image teaser DR © Sound engineering : Julien Rebours___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

On this episode of The Unfinished Print it is with honour, and great pleasure that I am able to present to you, my interview, with British  artist Rebecca Salter. We speak on her mokuhanga, her own work and work produced together with the Satō woodblock workshop in Kyōto. We discuss where Rebecca believes mokuhanga has gone since writing her book, Japanese Woodblock Printing (2001), a book which constantly inspires me in my own work. This book helps me to understand, what has felt at times to be such an esoteric and complicated art form, just a little bit more.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Rebecca Salter - website, interviews with Royal Academy, 1 and 2. University of West England - once called Bristol Polytechnic, is a public research University located in Bristol, England. British Museum - is a public museum, located in London, England, and is focused on human history, arts and culture. It was established in 1753.  Kyoto City University of Arts - is a public university of the arts located in Kyōto, Japan, and was established in 1880. lithography - is a printing process which requires a stone or aluminum plate, and was invented in the 18th Century. More info, here from the Tate.  screen printing - also called, serigraphy, is a method of printing by using stencils and forcing the ink through a screen onto paper, or other fabric. More info, here. Akira Kurosaki 黒崎彰 (1937-2019) - one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. intaglio printmaking - is a style of printmaking, the opposite of relief printmaking, where scratches are made with a burin on the plate (copper, zinc, aluminum) and then dipped in acid. Ink and pigment is rubbed on with a brayer, brushes, etc. More info can be found, here.    scrolls - called kakemono 掛物 or emakimono 絵巻物  in Japanese. These scrolls contain many different types of themes and subjects. More info can be found, here. monoprint - is a print made from a re-printable block, such as wood, or an etched plate. It is usually a one and done type of printing with only one print being made. blue and white Japanese ceramics - are ceramics made for the Japanese market. Originally imported into Japan in the 17th Century from China, local Japanese ceramists from northern and southern Japan began locally producing ceramics. As trading with the Dutch escalated more porcelain wares were being imported from Europe into the Japanese port of Imari. Imari became the word to describe these types of blue and white ceramics.  Genji Monogatari emaki - is an elaborate scroll produced in 12th Century, Japan. It is based on the famous Tale of Genji, a tale written in the 11th Century and is attributed to Murasaki Shikibu (around 973-1014). You can find images of this scroll, here.  Edo Culture - the Edo Period of Japan (1603-1868) was a period of peace and prosperity for the Japanese military government, or bakufu. Led by the Tokugawa family, Edo period culture flourished in theatre, literature, and the arts. For a fantastic book on the subject please seek out, Edo Culture: Daily Life and Diversions of Urban Japan by Kazuo Nishiyama (trans. Gerald Groemer) and Edo Kabuki in Transition: From the Worlds of the Samurai to the Vengeful Ghost by Satoko Shimazaki.  Edo v. Kyōto Kabuki - kabuki theatre is a bombastic and powerful theatre from Japan. In its long history it has been generally attributed to both  Edo (Tōkyō) and Kyōto.  Edo kabuki is called aragoto kabuki and Kyōto kabuki is called wagoto kabuki. Aragoto kabuki is generally very loud and external, whereas Kyōto kabuki is more understated and gentle.  Satō woodblock workshop - is a traditional Japanese woodblock production house based in Kyōto, Japan. Here is an article from The Journal of Modern Craft with Rebecca Salter regarding this workshop.  Japanese woodblock of the 1950's and 1960's - post-war Japan was growing at an exponential rate, and this was true for the Japanese woodblock print. As the sōsaku-hanga movement began to out last the shin-hanga of the 1920's in terms of production, where most people could produce prints on their own,  American scholars , Oliver Statler (1915-2000), and James Michener (1907-1997), helped catalogue and document the burgeoning Japanese woodblock print movement through their books, The Floating World (1954), by Michener, and Modern Japanese Prints: An Art Reborn (1956) by Statler, for a Western audience. Along with the Western art scene and the 1951 São Paulo Art Biennial, Japanese woodblock prints began to be respected as a stand alone piece of fine art.  kozo paper -  is paper made from mulberry bark and is commonly used in woodblock printmaking, and cloth.  Echizen, Fukui - is a city located tin the prefecture of Fukui. The paper produced from this region is kozo, mitsumata, and gampi.  More information can be found from the website of Echizen Washi Village. Mosquito net technique - is a technique in ukiyo-e, and can of course be reproduced by the modern mokuhanga practitioner, where very fine lines are carved on two wood blocks and, when printed together, create the image of slight, thin netting. Rebecca Salter details this technique in her book, Japanese Woodblock Printing (2001)   Yale Center for British Art - located in New Haven, Connecticut, the YCBA is dedicated to British art of all types.  Louise Caan - is a British architect and teacher based in Oxford where she teaches architecture at the Oxford Brookes School of Architecture.  urushi zuri - is a technique which is used in traditional Japanese woodblock and mokuhanga, where pigment is mixed with nikawa (animal glue), and printed to enhance the enjoyment of the print. Usually seen in black hair, or garments represented in the print.  Japanese museums dedicated to Japanese woodblock -  if you are visiting Japan and are interested in the Japanese woodblock print you are spoiled for choice. This list is definitely not complete so I would advise doing some research for local museums which may be open in different parts of Japan you may be visiting. This list is a mix of museums dedicated specifically to the woodblock print, or museums dedicated to woodblock print artisans.  Finally, check online for larger art museums , galleries, and department stores, in the area that you're visiting to see whether they are having any shows dedicated to woodblock print artists, genres, etc. while you're there. I've added hyper-links. The Japan Ukiyo-e Museum  - Matsumoto, Nagano Sumida Hokusai Museum - Ryogoku, Tōkyō Ōta Memorial Museum of Art -  Harajukiu/Omotesando, Tōkyō Tokaidō Hiroshige Museum - Shizuoka City, Shizuoka Hokusai Museum - Obuse, Nagano Kamigata Ukiyo-e Museum -  Ōsaka CIty, Ōsaka Nakagawa Batō Hiroshige Museum - Nakagawa, Tōchigi Kawanabe Kyōsai Museum - Warabi, Saitama Naoko Matsubara - is a Japanese/Canadian contemporary artist, and sculptor, who lives and works in Oakville, Ontario, Canada.  She has focused much of her artistic life on making mokuhanga and has gained critical acclaim for it. My interview with Naoko Matsubara can be found, here.  Katsutoshi Yuasa - is a Japanese contemporary artist, and sculptor, who works predominantly in mokuhanga. He has  produced an incredible mount of work. My interview with Katsu can be found, here.  Brook Andrew - is an Australian contemporary artist who has shown internationally.  Ukiyo-e Censorship - the military Tokugawa government (bakufu) was not happy about being criticized. Ukiyo-e prints often lampooned authority with their imagery. Other artistic pursuits in Japan at the time, such as kabuki theatre, did the same. In ukiyo-e and Tokugawa history there were “reforms” which the bakufu created in order to stem this type of criticism. The Ehon Taikōki of 1804, which focused on woodblock prints and poetry, and The Tempo Reforms of 1841/42 that focused on actor prints, the manufacturing of woodblock prints,  and their price, to name just a few reasons.  William Evertson - is an American woodblock printmaker and sculptor based in Connecticut, USA, who's themes focus on the politics and process of The United States.   Annie Bissett - is an American mokuhanga printmaker based in Rhode Island, USA. She explores American life, past and present,  sexuality, and the esoteric through her prints. My interview with Annie Bissett can be found, here.  Paul Binnie - is a Scottish mokuhanga printmaker and painter, based in San Diego, USA. Having lived and worked in Japan in the 1990's, studying at the Yoshida atelier while there, Paul has successfully continued to make mokuhanga and his paintings.  Royal Academy of Arts Summer Exhibition - is a summer exhibition held at the Royal Academy in London, England. It is an open submission, one which started in 1769, showcasing all types of artistic mediums.  余韻 - (yoin) - is a Japanese word which means “lingering memory.” The Lake District - is an area in North West of England which has numerous mountains, lakes, and a National Park. It has been an inspiration for many artists, writers, and actors for years. It is a UNESCO World Heritage Site.  © Popular Wheat Productions opening and closing credit music - Cut/Copy - Rendevous from the album, I Thought of Numbers (2001) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***      

LTG (R) Michael Ferriter, President and CEO of the National Veterans Memorial & Museum, joins SMA Tilley for the first of two episodes in honor and commemoration of Memorial Day. LTG (R) Ferriter enlightens us on the amazing work that is being done to capture the spirit and the memory of Veterans through this amazing Memorial & Museum. In addition, he highlights a special program called “Inspiring Stories of Service” and how Veterans can participate.

Saronik chats with Jay Shelat about the 9/11 family novel. They discuss how the attacks (re)dynamized constructions and perceptions of family. Jay refers to a few 9/11 family novels, including Burnt Shadows by Kamila Shamsie, The Reluctant Fundamentalist by Mohsin Hamid, Netherland by Joseph O'Neill, and Extremely Loud and Incredibly Close by Jonathan Safran Foer. If you want a list of more 9/11 family novels, feel free to ask. A special shoutout to Sarah Wasserman's The Death of Things: Ephemera and the American Novel for ideas about the state of print culture. Jay is a PhD candidate at the University of North Carolina, Greensboro, where he is writing his dissertation about 9/11 and the family. His work can be found or is forthcoming in Texas Studies in Literature and Language, Critic, ASAP/J, and elsewhere. You can follow him on Twitter @jshelat1. Image: photo taken by Ben Hider at the 9/11 Memorial Museum. Music used in promotional material: Adagio (mother nature's sleep) by Dee Yan-Kay 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

Saronik chats with Jay Shelat about the 9/11 family novel. They discuss how the attacks (re)dynamized constructions and perceptions of family. Jay refers to a few 9/11 family novels, including Burnt Shadows by Kamila Shamsie, The Reluctant Fundamentalist by Mohsin Hamid, Netherland by Joseph O'Neill, and Extremely Loud and Incredibly Close by Jonathan Safran Foer. If you want a list of more 9/11 family novels, feel free to ask. A special shoutout to Sarah Wasserman's The Death of Things: Ephemera and the American Novel for ideas about the state of print culture. Jay is a PhD candidate at the University of North Carolina, Greensboro, where he is writing his dissertation about 9/11 and the family. His work can be found or is forthcoming in Texas Studies in Literature and Language, Critic, ASAP/J, and elsewhere. You can follow him on Twitter @jshelat1. Image: photo taken by Ben Hider at the 9/11 Memorial Museum. Music used in promotional material: Adagio (mother nature's sleep) by Dee Yan-Kay Learn more about your ad choices. Visit megaphone.fm/adchoices

Saronik chats with Jay Shelat about the 9/11 family novel. They discuss how the attacks (re)dynamized constructions and perceptions of family. Jay refers to a few 9/11 family novels, including Burnt Shadows by Kamila Shamsie, The Reluctant Fundamentalist by Mohsin Hamid, Netherland by Joseph O'Neill, and Extremely Loud and Incredibly Close by Jonathan Safran Foer. If you want a list of more 9/11 family novels, feel free to ask. A special shoutout to Sarah Wasserman's The Death of Things: Ephemera and the American Novel for ideas about the state of print culture. Jay is a PhD candidate at the University of North Carolina, Greensboro, where he is writing his dissertation about 9/11 and the family. His work can be found or is forthcoming in Texas Studies in Literature and Language, Critic, ASAP/J, and elsewhere. You can follow him on Twitter @jshelat1. Image: photo taken by Ben Hider at the 9/11 Memorial Museum. Music used in promotional material: Adagio (mother nature's sleep) by Dee Yan-Kay Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

On the 26th anniversary of the Oklahoma City bombing on April 19, 1995, we talk with Lynne Porter, education director for the Oklahoma City National Memorial & Museum. Lynne shares how the Memorial & Museum have continued to evolve to stay relevant to today's generation, ensure those whose lives were lost are remembered and honored and  teach important lessons on strength, courage and resolve.

In this episode, David Priess talks with professor and author Marita Sturken about 9/11-related memorials, museums, and architecture. Her research and writings have examined everything from visual culture to the connection between memory and consumerism, with much of her recent work addressing memory of the attacks on September 11, 2001 as both the battleground and the site for negotiations of national identity.In this conversation, they talk briefly about various historical memorials and the purposes of such work before comparing and contrasting some of the 9/11 memorials around the country and those at Ground Zero, next to the Pentagon, and in Somerset County, Pennsylvania. They also discuss controversies surrounding the National September 11 Memorial Museum (commonly called the "9/11 museum"), including those about its gift shop and the human remains currently stored in the facility.Chatter is a production of Lawfare and Goat Rodeo. This episode was produced and edited by Cara Shillenn of Goat Rodeo. Podcast theme by David Priess, featuring music created using Groovepad. Among the works cited in this episode are:Memorials, Museums, and related sites:The National 9/11 Pentagon MemorialFlight 93 National MemorialThe National September 9/11 Memorial and MuseumWorld Trade Center OculusEmpty Sky Memorial in Jersey City, New JerseyReflect 9/11 memorial in Rosemead, CaliforniaVietnam Veterans MemorialThe Korean War Veterans MemorialWWII MemorialFranklin Delano Roosevelt MemorialMartin Luther King, Jr. MemorialDwight D. Eisenhower MemorialBooks:Terrorism in American Memory: Memorials, Museums, and Architecture in the Post-9/11 Era, by Marita SturkenTourists of History: Memory, Kitsch, and Consumerism from Oklahoma City to Ground Zero, by Marita SturkenTangled Memories: The Vietnam War, the AIDS Epidemic, and the Politics of Remembering, by Marita SturkenProsthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture, by Alison Landsberg Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Bob speaks with “The Outsider” co-director Steve Rosenbaum about his film documenting the fraught creation of the National September 11 Memorial & MuseumTEDDY ROOSEVELT: Surely there never was a fight better worth making than the one which we are in. GARFIELD: Welcome to Bully Pulpit. That was Teddy Roosevelt, I'm Bob Garfield. Episode 8: The Outsider.It has been twenty years since the bloody horrors of September 11th, 2001 scarred lower Manhattan and the American psyche. Within three years of the terror acts that claimed nearly 3,000 innocent lives, plans were underway to commemorate the fateful day and its events for posterity. The National 9/11 Memorial & Museum would be constructed on the hallowed footprint of the atrocity. A decade later, the half-billion dollar project would be opened to the public. Here was President Barack Obama at the dedication ceremony:OBAMA: A nation that stands tall and united and unafraid -- because no act of terror can match the strength or the character of our country. Like the great wall and bedrock that embrace us today, nothing can ever break us; nothing can change who we are as Americans.GARFIELD: That was perhaps a fitting tribute to a new national shrine, the memorial part of the project that must necessarily dwell in the grief, the sacrifice, the heroism that so dominate the 9/11 narrative. But what Obama left out was the museum part and its role of exploration, illumination and inquiry, such as where do those acts of terror and their bloody toll fit into the broader sweep of history, into America's story, into our understanding of human events before and since? If the dedication ceremony was appropriately a moment for communion and remembrance and resolve, surely the ongoing work of the museum would go beyond the heroism and sacrifice to the complex history and geopolitics that led to 9/11 evil.SHULAN: One of the key meta narratives of this exhibition, one of the most important things about this exhibition, is to say to people, “Use your eyes, look around you, look at the world and understand what you're seeing.” And if we don't do that with the material that we're presenting to people, then how can we give them that message? How will that message ever get through?GARFIELD: A new documentary by husband and wife filmmakers Pam Yoder and Steve Rosenbaum offers an inside view of the creation of the 9/11 Museum. It tells the story of the storytellers as they labor for a decade, collecting artifacts, designing exhibits, and editing the narratives flowing from that fateful day. And its protagonist was a relatively minor character who was propelled by internal conflict among the museum's planners into a central role in this story. The film is called “The Outsider,” available on Amazon Prime, Apple TV, Vudu, Facebook and other platforms. Steve Rosenbaum joins me now. Steve, welcome to Bully Pulpit.ROSENBAUM: I am so glad to be here, because I've always wanted to be on a bully pulpit.GARFIELD: Uh huh. Well, congratulations. You have achieved your dream, perhaps your destiny. OK, first, a whole lot of disclosure. You and I have been friends for most of our adult lives, so about 100 years, and I've been following your progress in getting this movie made for a long time. And furthermore, at more or less the last minute this summer, I stepped in to help write the narration and ended up voicing it in your movie. So I'm not exactly bringing critical distance into this conversation, but I still have a lot of questions. You ready?ROSENBAUM: I am ready indeed.GARFIELD: OK, so not only have you made a feature length movie about a process, it is a feature length movie about the process of museum curation with most of the action taking place around conference tables. So what I'm saying is Fast and Furious, it isn't.ROSENBAUM: You know, the Blue Room, which is the conference room you're referring to, was both the magical place where the magic happened and also a bit of our albatross because it is, in fact, a conference.GARFIELD: So in the end, though, you do manage to capture quite a bit of drama, quite a bit of drama, but there is no way you could have anticipated, when you got started, what would emerge over these years and -- how many hours of film?ROSENBAUM: 670. GARFIELD: Over how long a period of time?ROSENBAUM: Six and a half years.GARFIELD: How did you come to be a fly on the wall for six and a half years as they undertook this project?ROSENBAUM: So we negotiated with a then non-existent museum to trade them a very precious, valuable archive that my wife and I had lovingly gathered over many years in exchange for access to the construction, design, and development of the museum. And I think at the beginning, everyone thought it was fairly harmless. Like, what could go wrong? I mean, the museum will be fantastic and they'll record all of its fantasticalness, and that will be a film.GARFIELD: When you went in there for those six and a half years, it was purely as a matter of documentation, right? You didn't walk in with a premise or a hypothesis or a scenario or an angle, much less an agenda. But there must have been some sort of core interest, some focus when you undertook this project.ROSENBAUM: You have to remember that in the weeks after 9/11, particularly in New York, there was this extraordinary feeling of camaraderie and connectedness, both among New Yorkers and also around the world. And the sense that maybe what would come of this terrible day is some real goodness, that people would understand each other, that we'd be part of a global community. And so, we brought that, what now seems like naive optimism, to the museum. And they, at least in the early days, fueled that. I mean, they said to us, “We're going to build a different kind of museum. It's going to be open and participatory. It's going to be democratic.” And, you know, that worked for us as filmmakers. We thought a different kind of museum in a country that's gone through a terrible day and hopefully will come out of it stronger and wiser and, you know, more introspection--GARFIELD: But as of at least a year ago, you really didn't know what your film was going to be about. You didn't really have a movie scenario.ROSENBAUM: Well, you have to start with the problem that we had as a filmmaker, as filmmakers, which was a) No one gives a s**t about museums and how they're made. There's zero public interest in that. And then secondly, as it turned out, no one really gave a s**t about the museum. Nobody went to it other than tourists. Thoughtful people, historians, scholars, New Yorkers, media people didn't go there in droves. So, we're like, “How do we make a movie about a museum nobody cares about?” And in fact, the museum opened in 2014 and we spent three or four years fumfering around trying to get our arms around a movie we could make and pretty much gave up. And then Pam, my filmmaking partner and life partner and smarter person than I am, came to me one day and she said, “You know, I think there's a scene that might help.” And she came out with this little -- in her hand, this little Hi 8 tape, she handed it to me, said, “Put it in the deck.”And it was this exhibit in Soho. It was a photo exhibit, which I actually remember going to and some of your listeners may remember as well. It was called “Here is New York,” and it was literally the first crowdsourced photo exhibit in history. All of these people with little mini cameras made pictures of 9/11. And this character, a guy named Michael Shulan, who is a kind of a failed author, owned a little storefront gallery that had been essentially empty, put a picture on the window. And what exploded there was this spectacular collection of real person pictures. And so, the scene that Pam found was of this guy, who we had at that point never met -- one of our camera people had recorded him -- telling the story of why they gathered these pictures.SHULAN: We've asked basically that anyone bring us their pictures and we will display them. And to date we've probably had sixty or seventy people who've brought in pictures in the past two days.GARFIELD: So two things. One, this clip Pam found was from video you guys had shot twenty years ago for a previous movie about 9/11's aftermath called “Seven Days in September.” And you watch it and you're like, “Holy hell, that's Michael.” He is one of the guys who wound up on the museum planning staff, and you have been filming for six and a half years.ROSENBAUM: You know, we have 500 hours of the day of 9/11 and 670 hours shot at the museum construction. It is the definition, the filmmaking definition, of a needle in a haystack. We literally didn't know we had the Shulan scene until Pam magically pulled it out of -- the rabbit out of the hat. And Shulan was one of the five people we had chosen to follow for all six and a half years. And so, the combination of that -- and “Here is New York” is a wonderful kind of mile marker for where the film began because Michael talks about democracy and openness and sharing and letting people kind of find their own story in the photos. And that's exactly what the museum began as.GARFIELD: You say it was a needle in a haystack, finding this film of one of your characters surface. It was also very serendipitous because Shulan, who had the title of museum creative director and who is the “outsider” of the title -- of your title -- is not a professional museum executive or even a professional curator. He had this storefront where he crowdsourced this enormous collection of, you know, amateur images of the day and its aftermath.SHULAN: I live in this little building on Prince Street in Soho, which was inside of the World Trade Center. On the storefront of the empty shop, someone had taped up a copy of the 9/11 morning's newspaper and people were touching this thing and seeming to take some solace in this. And I suddenly remembered I had an old picture of the World Trade Center. So I ran upstairs and I got this picture and I taped it up. And as the day wore on, I noticed that people now came by and were starting to take pictures of the picture. And that was how the whole thing started.GARFIELD: And he was kind of thrust by events into the spotlight, which is how he got hired by the museum to begin with, right?ROSENBAUM: That's exactly correct. But I don't want to, you know, sell him short. I mean, he's quite brilliant in the way that lots of thoughtful New Yorkers are about images and sound and picture. He's just not a museum person in that he doesn't play by the rules. And I think it's important to foreshadow that because, you know, nobody who hired him could have had any confusion about what his behavior was going to be. I mean, he wore his heart on his sleeve.SHULAN: 9/11 was about seeing. 9/11 was about understanding that the world was a different place than you thought it was. It didn't start on the morning of 9/11. It started twenty or thirty or forty or fifty years before that, and we didn't see it.GARFIELD: You know, I've seen this movie now a number of times. He is clearly, as you say, a smart and interesting guy. He is a very thoughtful guy. He is a man of principle. What he isn't exactly, is a charmer.SPEAKER: Robert--SHULAN: Do you understand what I'm saying? Do you care what this project looks like?SPEAKER: Michael, I care very much what this project looks like, but we are in a process that makes decisions and moves forward.SHULAN: But the process makes the decision. You made a check, but is it the right decision?ROSENBAUM: No, he's abrasive. But, you know, I'm personally very fond of him, both as a character and as a human being, because I don't think 9/11 needs lots of people patting it on the head and telling it how heroic that day is. I think we need more of him, not less of him.GARFIELD: And this will ultimately coalesce into the thematic basis of the film, because Shulan was not only abrasive, but he's a man with a point of view. And his point of view was very specific. He believed that a museum documenting 9/11 should not be pedantic and definitive, it should be open ended and inquiring -- well, I'll let him say it:SHULAN: One of the conditions I laid down both explicitly to Alice and to myself when I took the job was that if we were going to make this museum, that we had to tell the history of what actually happened.GARFIELD: Which is not categorically a bad way of approaching museum curation, is it?ROSENBAUM: No. In fact, if you think about your journeys to museums and the ones that you remember, if you've ever gone to one -- I mean, you know, if you go to the Met or to MoMA or the Whitney, there'll be some art in those museums that you like very much and there'll be some other art that you'll look at and go, “Why in God's name did anybody put this thing in this building?” And museum curators don't do that accidentally. They want to challenge your comfort zone. They want to show you things you may not like, and then they want you to think about why you don't like them. So, I don't think museums succeed by being simplistic or pedantic.GARFIELD: Well, as we shall see, there were those who wished not to have this sacred space marred by uncomfortable questions. So you got this guy as your protagonist, a not particularly warm and fuzzy one. And from a dramatic perspective, I guess, the story requires a villain or at least a foil, someone whose philosophy of museuming is very different from Shulan's, providing you the conflict you need as a storyteller, right? And that role fell to the museum's big boss, the CEO, Alice Greenwald.GREENWALD: The politics are the terrain we're in. And it's the, you know -- the World Trade Center has always been a complicated site. You know, it's a bi-state agency that operates, you know, an entity that, an authority that deals with transportation, but it's also building commercial buildings and, you know, a transportation center. It's going to be complicated. It's just going to be complicated.ROSENBAUM: So, Alice is charming. She's warm. She's approachable. She answers questions. She doesn't get caught up in her knitting. And from the day that we met, you know, I remember this conversation like it was yesterday. I said to her, “You're going to be the magnetic north of this story. All people on the planet that want to come and explore it are going to come here.” And she said, “We understand that. We understand that's our responsibility.”GARFIELD: And yet, she is also clearly not as keen as Shulan is in exploring, let's just say, the geopolitical nuance of 9/11. And this has something to do with curatorial philosophy, but it also has to do with this museum being both a memorial and a museum and there being a lot of stakeholders, including the families of the 2,900 plus victims of the attacks. She was politically in an awkward position because there was no way that whatever decision she made, that everybody was going to be delighted.ROSENBAUM: Well, let's go back just half a step. She came from the Holocaust Museum in Washington, D.C. So that was the bulk of her career and that was her experience. And so, you know, she's used to demanding stakeholders and people who want the story told a certain way. But the Holocaust Museum is also quite open, and in fact, allows lots of different points of views, some of which they find abhorrent. And so, I don't think she -- I don't think she brought to the museum any sense of shutting down debate or dialogue. I think that happened in an evolutionary process over time.GARFIELD: But as we see the design and construction and planning and curatorial decisions play out, there did seem to be -- you know, I hesitate to use the word whitewash, but it was there seemed to be no great effort to do what Shulan wanted, which is to ask difficult questions, even if you could not come up with a definitive answer. When did it become clear to you as a filmmaker looking at the footage that you had found the conflict that I previously described?ROSENBAUM: So, you said it exactly right. I mean, you know, people say to me, “Well, you know, did you know when you were at the museum, there was a change? Did you feel like it was shift--?” The answer is no, we didn't. And it wasn't until Pam handed me that first tape and we then took the 14 hours of Michael Shulan and laid it out end to end and watched it, that you could feel the tone changing and his kind of quizzical nature become more frustrated and then more angry by about year three. And one of the things I think that's important to remember here is there were some things that Alice was facing that are now lost in history a little bit. So, you know, they began construction in 2005, 2006. By 2008, Wall Street had collapsed. And all these people that had committed donations to build this thing took their money back. And the mayor of the city of New York, who is also the museum's chairman at that point, was Michael Bloomberg. And, you know, Michael's got no shortage of cash, but I don't think there was ever an intention that this museum was going to be a perennial money suck for him or other donors. And so, part of the drumbeat that you start to feel is, “How do we make this private museum” -- not a public museum -- “without government funding, something that people will come and buy a ticket for?” And that's, I think, where some of the rub was.GARFIELD: A twenty three dollar ticket, if I recall correctly.ROSENBAUM: They raised the price. It's now twenty six.GARFIELD: So at that point, you know, apart from any political or philosophical considerations, there becomes the problem of needing, in order to meet expenses, to have not just a shrine and not just a museum, but an attraction which changes the calculus altogether. And what you were able to do when you were combing through your footage was find some pretty upsetting scenes of museum staff trying to figure out what would make the customers react.ROSENBAUM: Yes, there was definitely a series of debates about what would be impactful. And they were always careful to never say immersive. But there definitely became a bit of a schism on the team between people that wanted the museum to be welcoming and complicated and people who wanted the museum to be intense and dramatic. And there are some good examples of that, in particular, some particular scenes that I think the museum wasn't happy to see recorded. But, you know, we had them on tape.SPEAKER 1: Do you have any interest in developing ties? You can do whatever you want on it.SPEAKER 2: I think a tie is a really — you know what's nice to give away is a tie and a scarf.NEWS REPORTER: Just days away from the public opening of the 9/11 Memorial Museum, there's growing criticism of high admission fees. Twenty four dollars to get in and the sale of souvenirs at the gift shop. SPEAKER 3: I think it's a revenue generating tourist attraction. NEWS REPORTER: Jim Riches shares the same sentiment shown in this New York Post headline titled “Little Shop of Horror.” ROSENBAUM: But I also think it's important for your audience to understand people don't want to re-experience 9/11. Certainly New Yorkers don't, and probably Americans as a class.GARFIELD: There was the question, and this was a word you ended up not using in your film, of whether you going through that footage were witnessing the “Disneyfication” of the 9/11 Memorial & Museum, yet you ended up pulling that punch up. Why? ROSENBAUM: It made people so staggeringly angry that -- I mean, I don't think it was inaccurate or untrue. It was just we were picking our battles a little bit at that point with the museum and like, they -- because we didn't have any of our characters raising the word “Disneyfication,” although we'd heard it, we decided it was harder to defend than some other challenges that we made that were on tape.GARFIELD: You got a lot of good press for this film, but you also ran into a couple of buzzsaws, notably The New York Times Review, which was pretty scathing. And, although the critic was kind enough to single out my performance as a narrator -- what word did he use?ROSENBAUM: I believe the word was “amateurish.”GARFIELD: Yeah, yeah, yeah. Well, that was unfortunately true because I did it for nothing. But his central complaint is why you and Pam, as filmmakers, would privilege the creative vision of this novice outsider, Shulan, over the consensus of the team and the museum that they together crafted. Why did you, in the end, apart for reasons of just dramatic conflict, focus on Shulan?ROSENBAUM: Well, let me answer that question. So a couple of things: in the review, his criticism is that we're somehow promoting Shulan's career as a museum curator. And, you know, I watched the film not objectively, but I don't think anyone's going to be hiring Michael as a result of this. I also don't think that that was his intention or ours. I think, you know, what we liked was that Michael said, “Let's make a museum that's open and democratic.” And that that was the same thing Alice told us on day one. And then, as we slipped away from that, we slipped to an institution that felt to us heavy-handed and pedantic. And so, you know, Michael certainly represents a point of view that the filmmakers share about the museum. But I also think that, you know, the questions he raised about the museum, he's not alone. I mean, Tom Hennes, who's the head of Exhibits, feels very much the same way. And, you know, Philip Kennicott from The Washington Post feels very much the same way. And the head architecture critic from The New York Times, oddly, feels very much the same way. But it wasn't meant to put Shulan on any kind of a pedestal. It was simply that he was a really good lens through which to focus the question.GARFIELD: Speaking of Michael Kimmelman, the architecture critic at The Times, you have some tape of him commenting on a sign that is erected, you know, in the plaza area of the museum, the above ground portion of the museum. Most of the exhibit space is below ground, which was jaw dropping for him and for, I think, any viewer of the film.KIMMELMAN: The list of don'ts on the site is astonishing. You can't sing, much less stage a protest or a demonstration. And I think that does raise some very profound questions. You know, I have to keep coming back to say, I think the ability of New York, and by extension, America, to return again to life and return this place to life would have been a very remarkable and powerful statement.GARFIELD: If one bookmark of the movie was Michael Shulan, at his open source photo exhibit in Soho, this was the other bookend: the opposite of open source democratic anything, this closing down of protest or comment or debate on this site. I mean, it's not to be believed.ROSENBAUM: You have to think about where it sits in the arc of the last twenty years in American history. I mean, you know, you got the Patriot Act, you got renditions, you've got drone strikes, you've got police being heavily armored and turning into military units. The museum's fear of terrorism was the reason why they controlled the site so closely, but it also was part of this larger shift over the last twenty years toward a nationalistic heavy-handed kind of militaristic control. And I don't think that they were out on their own when they were limiting the fact that you couldn't sing or, you know, bring a guitar or read a piece of poetry on the site. I also think, by the way, it's worth remembering that the site is private property. So there's really nowhere else in New York -- I mean, if I want to go to Central Park and read a poem, no one, no cop is going to come up and say, “I'm sorry, sir, no poetry reading here.” The only place where that's going to happen is at the September 11th Museum.GARFIELD: Now, let me ask you this final thing. You have documented what I think could be characterized as the denaturing of the 9/11 Museum, the slowly evolving whitewashing of what we described in the very beginning of this thing, which was the search for meaning in the events of that day twenty years ago. As a museum goer, will I come away with the sense that something is being withheld, or does what they have come up with provide the raw material I need as a member of the society and a citizen to ask these questions myself?ROSENBAUM: You know, I've come to be able to answer that question after a couple of months of talking to other people. I think the best answer is, you know, that they're in a really tough box at this point because the thing about, you know, Afghanistan is it's not going to go away and it will be the bookend on this twenty years that will raise questions about, “Wait a minute, is the museum not going to talk about Afghanistan and the war, the twenty year failed -- our failed war in Afghanistan?” Well, of course they have to. And then the question is, what about the twenty years between the “never forget moment” that they hit like a drum beat and now? Because lots of things happened. And theoretically, at some point, the material about Saudi Arabia that has been hidden by the government will make its way into the light and then that will raise questions about, “Oh wait, who did 9/11?” So, when you really look at what the museum has chosen to put on a pedestal, it's essentially those two towers and they're falling down and all of the horrible human pain and suffering that comes from that. But I'm not sure that counts as the appropriate historic take on that day.GARFIELD: Steve, I want to thank you very much for doing this. I'm sorry Pam couldn't join us, but thank her for me as well. And I wish you all best of luck with the film.ROSENBAUM: We love people to watch it and send us, you know, notes, criticism, feedback. We think it's the beginning of a conversation, not the end.GARFIELD: Just as Michael Shulan would have preferred. Steve, thank you. ROSENBAUM: Thanks. GARFIELD: Steve Rosenbaum with his wife, Pam Yoder, directed the new documentary “The Outsider,” available now on Apple TV, Prime Video, Vudu, Xbox, Facebook, and other digital platforms. All right, we're done here. We encourage you to become a paid subscriber to Booksmart Studios so you can get extra content, including my weekly text column from Bully Pulpit, Lexicon Valley and Banished. Meantime, do please review Bully Pulpit on iTunes. Amid a cacophonous glut of podcasts, we depend on you to bring news of us to the world. We are trying to bring unapologetic scrutiny to the world of ideas and we cannot do that without you. Thanks in advance. Bully Pulpit is produced by Mike Vuolo and Matthew Schwartz. Our theme was composed by Julie Miller and the team at Harvest Creative Services in Lansing, Michigan. Bully Pulpit is a production of Booksmart Studios. I'm Bob Garfield. Get full access to Bully Pulpit at bullypulpit.substack.com/subscribe