Podcasts about national september

Rabbi Dr Elliot Cosgrove discusses his timely new book:-For Such A Time As This: On Being Jewish TodayElliot Cosgrove is a leading voice of American Jewry and a preeminent spiritual guide and thought leader. The rabbi of Park Avenue Synagogue since 2008, he was ordained at the Jewish Theological Seminary in 1999 and earned his PhD at the University of Chicago Divinity School. He sits on the Chancellor's Cabinet of Jewish Theological Seminary and on the editorial board of Masorti: The New Journal of Conservative Judaism. An officer of the New York Board of Rabbis, he serves on the boards of UJA-Federation of New York, the American Jewish Joint Distribution Committee, and the Hillel of University of Michigan and is a member of the Council on Foreign Relations. Rabbi Cosgrove was honored to represent the Jewish community at the National September 11 Memorial and Museum during the visit of Pope Francis to New York. A frequent contributor to Jewish journals and periodicals, he is the author of fifteen volumes of sermons and the editor of Jewish Theology in Our Time.

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 

Beverly began her career at Chicago's PBS affiliate and has directed and produced content for PBS and cable since 1999. Beverly was field producer for the longitudinal documentary REBIRTH over its ten-year production (Sundance World Premiere 2011; Showtime broadcast; George Foster Peabody Award; screened at The White House, US Department of State film tour; permanent exhibition at National September 11 Memorial & Museum).Beverly's first documentary feature Learning to Swallow (2005) followed a charismatic artist with bipolar disorder as she struggles to rebuild her life after a suicide attempt destroys her digestive system. The film premiered in competition at Silverdocs, screened internationally, and traveled to rural communities on Southern Circuit Tour of Independent Filmmakers. In March 2015 it was broadcast on America ReFramed, with an encore national broadcast in July 2017.Beverly's filmmaking, photography, and digital media work have received funding from The Paul Robeson Fund for Independent Media, New York State Council for the Arts (NYSCA), The Puffin Foundation, The Chicago Cultural and Tourism Fund, The Center for Peacemaking, and The Diederich College Initiative on Communication Ethics, Values and Social Justice. Beverly has received a Flaherty Fellowship, a Mary L. Nohl Artists Fellowship for Established Artists, and a BAVC National MediaMaker Fellowship.

pWotD Episode 2689: September 11 attacks Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 488,772 views on Wednesday, 11 September 2024 our article of the day is September 11 attacks.The September 11 attacks, commonly known as 9/11, were four coordinated Islamist terrorist suicide attacks carried out by al-Qaeda against the United States in 2001. On that morning, 19 terrorists hijacked four commercial airliners scheduled to travel from the East Coast to California. The hijackers crashed the first two planes into the Twin Towers of the World Trade Center in New York City and aimed the next two flights toward targets in or near Washington, D. C., in an attack on the nation's capital. The third team succeeded in striking the Pentagon, the headquarters of the U. S. Department of Defense in Arlington County, Virginia, while the fourth plane crashed in rural Pennsylvania during a passenger revolt. The September 11 attacks killed 2,977 people, making it the deadliest terrorist attack in history. In response to the attacks, the United States waged the multi-decade global war on terror to eliminate hostile groups deemed terrorist organizations, as well as the foreign governments purported to support them, in Afghanistan, Iraq, Syria, and several other countries.Ringleader Mohamed Atta flew American Airlines Flight 11 into the North Tower of the World Trade Center complex in Lower Manhattan at 8:46 a.m. Seventeen minutes later, at 9:03, the World Trade Center's South Tower was hit by United Airlines Flight 175. Both 110-story skyscrapers collapsed within an hour and forty-one minutes, bringing about the destruction of the remaining five structures in the WTC complex and damaging or destroying nearby buildings. American Airlines Flight 77 flew towards Washington, D. C. and crashed into the Pentagon at 9:37 a.m., causing a partial collapse. The fourth and final flight, United Airlines Flight 93, also changed course towards Washington, believed by investigators to target either the United States Capitol or the White House. Alerted to the previous attacks, the passengers revolted against the hijackers who then crashed the aircraft into a Stonycreek Township field, near Shanksville, Pennsylvania, at 10:03 a.m. The Federal Aviation Administration ordered an indefinite ground stop for all air traffic in U. S. airspace at 9:45 a.m. (59 minutes following the first impact), preventing any further aircraft departures until September 13 and requiring all airborne aircraft to return to their point of origin or divert to Canada. The actions undertaken in Canada to support incoming aircraft and their occupants were collectively titled Operation Yellow Ribbon.That evening, the Central Intelligence Agency informed President George W. Bush that its Counterterrorism Center had identified the attacks as having been the work of Al-Qaeda under Osama bin Laden. The United States formally responded by launching the war on terror and invading Afghanistan to depose the Taliban, which rejected the conditions of U. S. terms to expel Al-Qaeda from Afghanistan and extradite its leaders. The U. S.'s invocation of Article 5 of the North Atlantic Treaty—its only usage to date—called upon allies to fight Al-Qaeda. As U. S. and NATO invasion forces swept through Afghanistan, bin Laden eluded them by disappearing into the White Mountains. He denied any involvement until 2004, when excerpts of a taped statement in which he accepted responsibility for the attacks were released. Al-Qaeda's cited motivations included U. S. support of Israel, the presence of U. S. military bases in Saudi Arabia and sanctions against Iraq. The nearly decade-long manhunt for bin Laden concluded on May 2, 2011, when he was killed during a U. S. military raid on his compound in Abbottabad, Pakistan. The war in Afghanistan continued for another eight years until the agreement was made in February 2020 for American and NATO troops to withdraw from the country. The last members of the U. S. armed forces left the region on August 30, 2021, after which the Taliban rapidly returned to power. Ayman al-Zawahiri, another planner of the attacks who succeeded bin Laden as leader of Al-Qaeda, was killed by U. S. drone strikes in Kabul, Afghanistan on July 31, 2022.Excluding the hijackers, the attacks killed 2,977 people, injured thousands more and gave rise to substantial long-term health consequences while also causing at least $10 billion in infrastructure and property damage. It remains the deadliest terrorist attack in history as well as the deadliest incident for firefighters and law enforcement personnel in American history, killing 343 and 72 members, respectively. The loss of life stemming from the impact of Flight 11 made it the most lethal multi-plane crash in aviation history followed by the death toll incurred by Flight 175. The destruction of the World Trade Center and its environs seriously harmed the U. S. economy and induced global market shocks. Many other countries strengthened anti-terrorism legislation and expanded their powers of law enforcement and intelligence agencies. The total number of deaths caused by the attacks, combined with the death tolls from the conflicts they directly incited, has been estimated by the Costs of War Project to be over 4.5 million. Cleanup of the World Trade Center site (colloquially "Ground Zero") took eight months and was completed in May 2002, while the Pentagon was repaired within a year. After delays in the design of a replacement complex, six new buildings were planned to replace the lost towers, along with a museum and memorial dedicated to those who were killed or injured in the attacks. The tallest building, One World Trade Center, began construction in November 2006; it opened in November 2014. Memorials to the attacks include the National September 11 Memorial & Museum in New York City, the Pentagon Memorial in Arlington County, Virginia, and the Flight 93 National Memorial at the Pennsylvania crash site.This recording reflects the Wikipedia text as of 01:20 UTC on Thursday, 12 September 2024.For the full current version of the article, see September 11 attacks on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Matthew.

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.

Return with us now to yesteryear ....As we approach another anniversary of that terrible day The National September 11,(2001) Memorial & Museum leads the nation, and the world, in marking the the day that changed our lives forever. The 23nd anniversary commemoration ceremony will take place next week in Manhattan at the WTC Memorial Plaza, focused as always on an in-person reading of the names of the 3000 souls lost in the tragedy, by family members and friends who like all of us will never forget. But what of the people that were inside that somehow made it to the outside and live on today? Our friend and head air cargo guy for Port Authority of New York & New Jersey is one of those people. Today Jim Larsen who was ex Seaboard World Cargo when he became the second and so far greatest most innovative airport cargo executive you ever met lives quietly by himself in Lakehurst New Jersey about an hour from New Yok City. But on that bright beautiful day September 11 and 08:00 he sat down inside Tower One, and as the first plane crashed into his building thought the tower was going to turn over, and it was curtains for him and everyone else on the 65th floor of the building. Here is a timeless story of true courage and greatness told once again just as he told us a few days after his miraculous survival and great courage as Jim became a great hero of that terrible day walking all the way down and out of that soon to crash building with others including physically challenged people.

“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 

In this episode of Matters of Experience, explore the intricacies of curating stories that breathe life into artifacts, revealing raw emotions and untold narratives. Join Abby and Brenda in conversation with Jan Seidler Ramirez, the founding Chief Curator of the National September 11th Memorial and Museum in New York City. Jan shares insights into the delicate balance between remembrance and hope, illustrating how the museum becomes a sanctuary for healing by fostering connections, transcending boundaries, and offering solace to those who visit.

It's time to check out the biggest stories in the AV industry. Joining us to look at the commercial side is Bren Walker from Kirkegaard, Fernando Mora from the National September 11 Memorial & Museum, and Kelly Perkins of The Farm.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, Andrew starts off by talking about why airplane cabins are so dry and what you can do about it. Then he looks at the lasting impacts of the 9/11 attacks on air travel today. Why do aircraft cabins feel so dry? If you've ever felt this way, you're not wrong. Find out why this is the case and what you can do about it in this episode. This episode has been released on September 11 and it is fitting to talk about the 9/11 attacks and its impacts on aviation. Andrew starts off by recapping the event and its immediate aftermath, before looking at longer term effects on air travel.   There once was a time where family and friends could accompany passengers to the gate and children could visit the cockpit in flight. This episode looks at how the September 11 attacks changed aviation forever. We also explore some of the subsequent developments in airport security that weren't directly the result of the attack but were implemented in a post-9/11 context. Other materials mentioned in this episode:Zero Hour: A History of 9/11 – This is a narrative nonfiction limited podcast series that looks back on the people and events that led to the September 11 terror attacks and their consequences. (Apple Podcasts | Spotify | Google Podcasts) 9/11 Memorial & Museum – Located at the World Trade Center site in New York City, the National September 11 Memorial & Museum remembers and honors the 2,983 people killed in the horrific attacks of September 11 and those who risked their lives to save others. Come from Away – This heartwarming musical tells the story of the 7,000 passengers who ended up stranded in a small town of Newfoundland, Canada as a result of the 9/11 attacks. Talking About Trusted Traveler Programs – Episode 41 of Flying Smarter covers TSA PreCheck, including what it is, what the benefits are and how you can get it. Learn more about how to skip the line at airport security and get expedited screening.Enjoying the podcast? Follow us on social media for additional content, updates, sneak peeks, and more! Connect with Flying Smarter: Facebook: Flying Smarter Podcast Instagram: @flyingsmarter Twitter: @flying_smarterLinkedIn: Flying SmarterWebsite: www.flyingsmarter.com 

What if there were a high-quality, peer-reviewed journal for the whole exhibition community? What if it featured the leading organizations, practitioners and ideas that shape the whole industry? What if back issues for the past 30 years were available — for free to see online, right now?“Exhibition,” the Journal of Exhibition Theory & Practice, published by the American Alliance of Museums, is all those things. But who makes it? What has it taught us? And what's coming next? Ian Kerrigan (Managing Editor of “Exhibition” and Senior Vice President for Exhibitions at National September 11 Memorial & Museum) joins Jonathan Alger (Managing Partner, C&G Partners) to go “Behind the Scenes at Exhibition Journal”.  Along the way: 1001 inventions, how fun helps even serious subjects, and why sometimes you might need to change your name.How to Subscribe: Apple Podcastshttps://podcasts.apple.com/us/podcast/making-the-museum/id1674901311 Spotify https://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G Googlehttps://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy50cmFuc2lzdG9yLmZtL21ha2luZy10aGUtbXVzZXVt Everywhere https://makingthemuseum.transistor.fm/ Talking Points:1. Big Ideas on Small (or Smaller) Budgets (Spring 2023)2. Effective Exhibitions Should _____ (Fall 2022)3. Putting Children First (Spring 2022)4. Beyond the Walls (Fall 2021)5. Crisis & Resilience (Spring 2021)6. Making Space for Fun in Museum Exhibitions (Fall 2020)7. Can Exhibitions Save the Planet? (Spring 2020) Guest Bio:Ian Kerrigan is Senior Vice President for Exhibitions at the 9/11 Memorial & Museum in New York where he oversees exhibition development, design, and installation of the institution's award-winning projects. He is an Adjunct Assistant Professor in the Museum Studies Program at New York University and serves as the Managing Editor for Exhibition, a journal of exhibition theory and practice published by the American Alliance of Museums (AAM). He is also a federal grant reviewer for the Institute of Museum and Library Services and the National Endowment for the Arts, and a peer reviewer for the AAM's Museum Assessment Program. About “Exhibition”: If you or your museum produces exhibitions, you'll want to know about Exhibition, the peer-reviewed journal published by AAM with the leadership of Ian Kerrigan as Managing Editor and Jenny-Sayre Ramberg as Exhibits Newsline Editor, serving volunteer terms through December 2024, and Editor Jeanne Normand Goswami. Each issue is packed with insights on the latest developments in museum exhibition practice and award-winning designs. Published twice a year, Exhibition offers more than 100 pages of thought-provoking articles, exhibition critiques, and commentary, technical articles, and essays. Each issue is organized around a theme, such as the power of words, exhibitions and universal design, innovation and community relevance and new media in exhibitions.About Making the Museum:Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. This is a project of C&G Partners | Design for Culture. Learn about the firm's creative work at: https://www.cgpartnersllc.comShow Links: Contact Ian Kerrigan at:ikerrigan@911memorial.orgwww.linkedin.com/in/ian-kerrigan-10363420 Subscribe to Exhibition journal at:www.aam-us.org/programs/exhibition-journal View past issues of Exhibition journal at:www.name-aam.org/past-issues-online Feasibility Report template from Spring 2021 issue article “Real Talk: Assessing Feasibility with Collaborative Teams” by Emily Saich and Joey Scott from the Monterey Bay Aquarium at:https://mbayaq.co/37Lvrrq Resource list from Spring 2021 issue essay “Museum Remedy: 15 Resources for Museums Through a Lens of Racial Equity” by Monica O. Montogomery at:https://rb.gy/us6jh Show Contact: https://www.makingthemuseum.com/contacthttps://www.linkedin.com/in/jonathanalgeralger@cgpartnersllc.comhttps://www.cgpartnersllc.com Newsletter: Like the episode? Subscribe to the newsletter! Making the Museum is also a very short daily newsletter on exhibition planning for museum leaders, exhibition teams and visitor experience professionals. Subscribe at:  https://www.makingthemuseum.com

Thank you for tuning into "Starting Small", a podcast about brand development, entrepreneurship, and innovation in the modern world. In this episode, I am joined by Evan Lutz, founder of Hungry Harvest, a farm to doorstep produce delivery service on a mission to end food waste & hunger. Make sure to check out Hungry Harvest at: https://hungryharvest.net   Visit Starting Small Media: https://startingsmallmedia.org/ Subscribe to exclusive Starting Small emails: https://startingsmallmedia.org/newsletter-signup   Follow Starting Small: Instagram: https://www.instagram.com/startingsmallpod/ Facebook: https://www.facebook.com/Startingsmallpod/?modal=admin_todo_tour LinkedIn: http://linkedin.com/in/cameronnagle   Thank you to this episodes mid-break sponsor, The Washington Hotel by Luxurban Hotels. In the heart of the Financial District, this upmarket hotel is a 4-minute walk from both the Wall Street subway station, and the National September 11 Memorial. Make sure to book your next stay in NYC at: https://www.washingtonlx.com/   Thank you to this episodes closing sponsor, STK Steakhouse, combining the modern steakhouse & chic lounge into one vibe dining experience. With many premium city locations, make sure to book your next meal at: https://stksteakhouse.com/

Paul Cox is the Vice President and Principal at Environmental Design, Inc. He is a graduate of Texas A&M University and attended the University of Houston to study international business and the Spanish language. Paul is a certified arborist through the International Society of Arboriculture, and he is credentialed as a consulting arborist. His experience in the tree industry includes contract negotiations, tree preservation, plant health care, project management, and tree relocation to name a few. Paul's responsibilities have included high-profile sites which include the National September 11th Memorial in Lower Manhattan, the Flight 93 Memorial in Shanksville, Pennsylvania, Governors Island Park installation in New York, and the Nasher Sculpture Center in Dallas, Texas. Paul's current responsibilities include multiple business units operating in the Eastern United States, Canada, Mexico, Central America, and Europe. --- Send in a voice message: https://podcasters.spotify.com/pod/show/plantatrilliontrees/message Support this podcast: https://podcasters.spotify.com/pod/show/plantatrilliontrees/support

#museumofthefuturedubai #museumofthefuture #dubai #future #uae Sundar Raman is an engineer with a background in community media and interactive experience design. He is the Director of technology at the iconic Museum of the Future-Dubai. He believes that engineering and art share the same foundation; that technology should be as invisible as possible and that technology should always be a facilitator for creative results, rather than an end in itself. He is continuously burnishing the rough edges of all tendrils of technology that interconnect to make our modern lives work smoothly. His contributions to award-winning projects include the National September 11th Memorial and Museum, The Cooper Hewitt National Design Museum, The Museum of the City of New York, The Eisenhower Memorial amongst many others. Sundar has lectured at various institutions, including Princeton University, Parsons Art and Design School, NYU Tandon School of Engineering and School of the Visual Arts. https://ae.linkedin.com/in/cybertoast https://museumofthefuture.ae/en

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/

Hank Hanegraaff, president of the Christian Research Institute and host of the Bible Answer Man broadcast, offers some thoughts on the terrorist attacks of September 11, 2001. In New York City, the National September 11 Memorial and Museum hosted an annual ceremony commemorating and honoring the nearly 3,000 lives lost twenty-one years ago. A reminder that the oil-rich Middle East is full of fantastically wealthy Muslims prepared to employ their resources for the sake of jihad. According to former Democratic senator Bob Graham, Saudi Arabia had direct ties to the massacres of September 11, 2001. But this is whitewashed in the Western world, where sharia-subservient states, including Saudi Arabia, are consistently portrayed as peace-loving allies in the fight against terrorism. Little wonder then that when the Grand Mufti of Saudi Arabia declared it necessary to destroy every church in the whole of the Arabian Peninsula, Western governments did not so much as blink. Worse yet, Western governments, along with academic institutions and media outlets have proven themselves to be cobelligerents with the Wahhabis of Saudi Arabia in exporting a false narrative on Islam. However, the rebuilding of the Saint Nicholas Shrine at Ground Zero provides a glimmer of hope that Christians in the West may once again take the only true and transformational faith as seriously as the Saudi's do the Islamic counterfeit.For documentation and further study, see Hank Hanegraaff, MUSLIM: What You Need to Know about the World's Fastest-Growing Religion https://www.equip.org/product/cri-resource-muslim-what-you-need-to-know-about-the-worlds-fastest-growing-religion/. See also Hank Hanegraaff, Truth Matters, Life Matters More: The Unexpected Beauty of an Authentic Christian Life https://www.equip.org/product/cri-resource-truth-matters-life-matters-more/.

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.

9/11 survivor & FDNY Veteran Tim Brown lost nearly 100 of his friends in the September 11 terrorist attacks, including his two best friends.  He has made it his mission to assure that our nation never forgets. Tim is no stranger to the face of terrorism. He responded to the 1993 World Trade Center Bombing and was dispatched to help with the recovery efforts following the 1995 Oklahoma City Bombing. But nothing could have prepared him for the events of 9/11. He had been assigned to Mayor Giuliani's Office of Emergency Management – a role Tim describes as “taking off his helmet and putting on a tie.” He was in his office across the street from One World Trade Center when the first plane hit the North Tower. Tim describes some of the horrible moments he experienced, including last seconds with his fellow firefighters before they climbed the stairs with full knowledge that they may never return. “It was what all the firemen, policemen and EMT's did that day. They fulfilled the oath they had taken to give their lives for someone they didn't know.” Tim was 20 feet from the front of the South Tower when it collapsed and sought cover in the Marriott Hotel next door, which was subsequently buried under the rubble. Drawing upon his training, he held on to a vertical column while the wind (later proven to be has high as 185 mph) picked him up.  “I was just waiting to be crushed in that moment”. Tim and a few dozen others were able to find their way out of the rubble. We discuss how the number of rescuers dying from 9/11 illness is rapidly approaching the number killed during the attacks. Tim has become a national leader in preserving the memories of those who were murdered on 9/11 at Ground Zero. He feels particularly compelled to share these stories with younger generations who had not been born at that time. Tim volunteers with the National September 11 Memorial Museum and the Tunnel to Towers Foundation. He can be reached via Eagle Rise Speaker's Bureau. .fusion-body .fusion-builder-column-0{width:100% !important;margin-top : 0px;margin-bottom : 0px;}.fusion-builder-column-0 > .fusion-column-wrapper {padding-top : 0px !important;padding-right : 0px !important;margin-right : 1.92%;padding-bottom : 0px !important;padding-left : 0px !important;margin-left : 1.92%;}@media only screen and (max-width:1024px) {.fusion-body .fusion-builder-column-0{width:100% !important;}.fusion-builder-column-0 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}@media only screen and (max-width:640px) {.fusion-body .fusion-builder-column-0{width:100% !important;}.fusion-builder-column-0 > .fusion-column-wrapper {margin-right : 1.92%;margin-left : 1.92%;}}.fusion-body .fusion-flex-container.fusion-builder-row-1{ padding-top : 0px;margin-top : 0px;padding-right : 0px;padding-bottom : 0px;margin-bottom : 0px;padding-left : 0px;}

The National September 11th Museum seeks to keep the story alive as the years move on  

Emily Shoyer is the Consulting Curator at the Museum of Sex in New York City while she pursues her PhD in the History of Art at Bryn Mawr College in Pennsylvania where she focuses on the intersections of contemporary art and traumatic experience through a decolonial and psychoanalytic lens. In November she opened "Reclaiming & Making: Art, Desire, Violence" at the Museum of Sex, an exhibition confronting the complex relationship between sex and violence through the artwork of 15 living female and non-binary artists and organizations. She holds a B.A. in Art History from Barnard College, Columbia University and an M.A. in Art History from the Institute of Fine Arts at New York University and has held curatorial positions at the Museum of Modern Art, the National September 11 Memorial & Museum and the Jewish Museum.In this episode, we dive into:The intersections of contemporary art and sexual traumaArt as terrain for marginalized folk to share voice & storyArt as window into lived experience and stories you may otherwise not hearArt as an avenue for healing and processing trauma Addressing female genital mutilation and imagined violence for marginalized communities through artThe role that art and writing played in Marlee's healing after sexual traumaConversations around sexuality that reflect wholeness: from violence to beautiful erotic experienceSocial media censorship and the harmful impact of suppressionDefining resiliency in the survivor communityEmpowered choice when it comes to how we do or don't share our stories; overcoming shame around ‘sensationalizing' our storiesFollow the Museum of Sex on Twitter: https://twitter.com/museumofsex?lang=en and at https://www.museumofsex.com/ Follow @marleeliss and @emmshoyy Learn more about Marlee's group coaching program the Sensual Wholeness Academy: https://www.marleeliss.com/SWAClaim your free 1-1 connect call with Marlee: https://itssessiontime.youcanbook.me/Join/learn more about the F*ck Comphet Support Club: 2SLGBTQIA+ Community Space: https://www.patreon.com/fckcomphetsupportclub

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.

Today, nearly any group or nation with violence in its past has constructed or is planning a memorial museum as a mechanism for confronting past trauma, often together with truth commissions, trials, and/or other symbolic or material reparations. In Exhibiting Atrocity: Memorial Museums and the Politics of Past Violence (Rutgers University Press, 2018), Amy Sodaro documents the emergence of the memorial museum as a new cultural form of commemoration, and analyzes its use in efforts to come to terms with past political violence and to promote democracy and human rights. Through a global comparative approach, Sodaro uses in-depth case studies of five exemplary memorial museums that commemorate a range of violent pasts and allow for a chronological and global examination of the trend: the U.S. Holocaust Memorial Museum in Washington, DC; the House of Terror in Budapest, Hungary; the Kigali Genocide Memorial Centre in Rwanda; the Museum of Memory and Human Rights in Santiago, Chile; and the National September 11 Memorial Museum in New York. Together, these case studies illustrate the historical emergence and global spread of the memorial museum and show how this new cultural form of commemoration is intended to be used in contemporary societies around the world. Amy Sodaro is an associate professor of sociology at the Borough of Manhattan Community College, The City University of New York. Schneur Zalman Newfield is an Assistant Professor of Sociology at Borough of Manhattan Community College, City University of New York, and the author of Degrees of Separation: Identity Formation While Leaving Ultra-Orthodox Judaism (Temple University Press, 2020). Visit him online at ZalmanNewfield.com. 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

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

Podcast topics:1:01 - Cherwin talks about the mission of the 9/11 Memorial & Museum, how the organization prepared for the 20th anniversary, working with singer John Legend on communication to a generation that has little or no memory of September 11, 2001, and more.21:50 - Barrett and Washkuch reflect on their memories of 9/11, as well as those of several Haymarket Media employees.25:56 - Remembering financial services agency Cantor Fitzgerald, which lost almost 70% of its employees in the 9/11 attacks; and Bingham Group founder Mark Bingham, who was a passenger on United Airlines Flight 93 and later confirmed to have fought back against the hijackers.30:17 - How airlines' crisis comms strategies evolved after 9/11.33:31 - Recounting PRWeek's Jonah Bloom and Gideon Fidelzeid's experiences on 9/11.

In advance of the 20th anniversary of what has been called the most historic event of the 21st century so far, Hoosier History Live will welcome phone calls throughout our show from listeners. We invite you to call the WICR-FM studio (88.7) at 317-788-3314 and share where you were when you learned about the terrorist attacks on September 11, 2001, or describe the ways, small and subtle or significant, that the tragic event changed your life. For this special show, Nelson will be joined again by Tom Spalding, who was the public safety reporter for The Indianapolis Star when he accompanied Indiana Task Force 1, the rescue team that was deployed to Ground Zero in New York City. On a show from this past July, Tom was a guest along with Dave Cook, a battalion chief for the Indianapolis Fire Department who was among the 62 professional rescuers from Indiana and their 12-member support crew dispatched to search for survivors. During the 20 years since the tragedy, Tom has been re-interviewing many of the task force members for an upcoming book; they ranged from firefighters, emergency medical technicians and structural specialists to search-dog handlers. Many of them have described where they were when they learned about the tragedy and wondered, as a task force member from Boone County asked, "Would this change me forever?" A squad leader with the Warren Township Fire Department - which has since merged with IFD - described for Tom how he watched the terrorist attack unfold on TV with his family. As he canceled a planned trip to Montana and quickly prepared to head to Ground Zero, he recalled the reaction of his 9-year-old son: "For the first time he understood my job was dangerous." When the Hoosier rescuers arrived in the aftermath of the collapse of the World Trade Center and surrounding buildings, many encountered still-smoldering underground fires. During our show last month, Tom described how several Hoosiers barely escaped being burned alive when a 50-foot wall of fire shot up while they were searching for survivors underground. Most Hoosiers, of course, did not have to face that kind of imminent danger - although the extent of what might happen across the country was not immediately apparent. "People who weren't deployed have the most vivid memory of where they were when they got the word about the planes striking and the Twin Towers falling," Tom says. "[The Indiana task force] was able to respond - do something - so the moment isn't as raw for them." We want to hear your recollections of that raw historic news and its impact on your lives, particularly in ways that have not been obvious, such as tightened security at airports. Speaking of that: Our host, Nelson, was at Indianapolis International Airport, preparing to board a plane to New York City, during the suicide hijackings of the airplanes that crashed into the 110-story Twin Towers of the trade center. So he will describe the scene at the Indy airport during our show. Also during the show, Tom will describe two memorials that have been erected to honor victims of the 9-11 tragedy. He has visited the Indiana 9-11 Memorial in downtown Indianapolis that was dedicated on the 10th anniversary. The public is invited to 20th anniversary commemorative events Sept. 11, including a rededication ceremony beginning at 1:30 pm at the memorial near the Indiana Central Canal. The memorial includes engraved granite tablets that describe remembrances of the 9-11 events. The tablets are flanked by two steel beams from the World Trade Center; one of the beams is topped by a bronze American bald eagle sculpted by Indianapolis firefighter Ryan Feeney. Ryan, who also sculpted the statue of Peyton Manning at Lucas Oil Stadium, has been a guest on Hoosier History Live for a show called Sculpting famous Hoosiers show. Tom also has visited the National September 11 Memorial and Museum on the former site of the World Trade Center. A day-long series of events is planned for Sept. 11 at the national memorial.

This episode is also available as a blog post: https://thecitylife.org/2021/08/04/the-national-september-11-memorial-museum-launches-national-campaign-to-teach-the-lessons-of-9-11/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

As we approach the 20th anniversary of the 9-11-01 terrorist attacks, this month marks another milestone involving Indiana Task Force 1, which was among 28 elite rescue teams dispatched to Ground Zero in New York City to search for survivors. Thirty years ago, in July 1991, Indiana Task Force 1 - which includes firefighters, emergency medical technicians, engineers, search-dog handlers and other highly trained specialists - was being formed to respond to catastrophic events. Hoosier History Live will explore the aftermath of the attack on the Twin Towers in New York City, when 62 professional rescuers from Indiana and their support crew arrived at the still-smoldering ruins. Some of the Indiana Task Force 1 members were among the first "boots on the ground" from across the country at Ground Zero after the suicide hijackings of airplanes that crashed into the World Trade Center's 110-story towers. To explore what unfolded - as well as earlier and subsequent missions of the Indiana responders since the formation of the task force - Nelson will be joined by two guests: Tom Spalding, who was the public safety reporter for The Indianapolis Star when he accompanied the Indiana task force to Ground Zero for an "up-close and personal" look at their overwhelming mission. Tom, who left the Star in 2011 to become a public relations manager, is  working on a book that will include a chapter about Indiana Task Force 1's search efforts. And Dave Cook, a battalion chief for the Indianapolis Fire Department (IFD), who served a critical function with Indiana Task Force 1 at Ground Zero because of his expertise as a structural specialist. A Ball State University-educated architect as well as a firefighter, Chief Cook was a captain with the Washington Township Fire Department (before its merger with IFD) in September 2001. He joined the Indiana task force in 1995 and continues to be part of the professional rescue team. At Ground Zero, some of the Indiana Task Force 1 members arrived amid still-smoldering underground fires. Several of the Hoosiers barely escaped being "burned alive" when a 50-foot wall of fire shot up during an underground search for survivors, our guest Tom Spalding wrote in a subsequent account for Traces of Indiana and Midwestern History, the Indiana Historical Society's magazine. When the Indiana Task Force 1 rescuers returned to Indianapolis after their 10-day assignment at Ground Zero, they were greeted by a cheering crowd of 3,000 on Monument Circle. In downtown Indianapolis, a permanent memorial to the 9-11 victims was dedicated after the 10th anniversary of the tragedy. Earlier that month, Tom Spalding was one of the guests on Hoosier History Live for a show marking that milestone. Since then, Tom has visited the National September 11 Memorial and Museum on the former site of the World Trade Center. In addition to Indianapolis-based firefighters and emergency medical technicians, the Indiana Task Force 1 team members dispatched to Ground Zero included search dog handlers from South Bend, Fountaintown, Newburgh and Lebanon. The beginnings of Indiana Task Force 1 can be traced to July 1991, a deadline posed by the Federal Emergency Management Agency (FEMA) for teams across the country to submit applications to be part of the emergency response system. During their mission in the aftermath of the 9-11 tragedy in New York, the Hoosier rescuers, along with Tom Spalding and other Indiana-based journalists, stayed in tents at the Javits Convention Center. During our show, we will explore concerns about subsequent health problems experienced by some of the Hoosier rescuers. In sifting through the Ground Zero debris, they were exposed to fuel from the jets that struck the Twin Towers and other potentially toxic material. "In the subsequent year, I thought the [Hoosier] task force members would become celebrities, but they did not," Tom wrote in his Traces account. "They simply returned to the old jobs they had left." Last week, about 80 members of Indiana Task Force 1 traveled to Surfside, Fla., to help with search and rescue efforts after the collapse of a condominium building. Although our guest Chief Cook is not among those deployed to the site of the tragedy in Florida, he has served as a structural specialist on more than 20 missions since he joined Indiana Task Force 1 in the 1990s. He is among only a few members who have been on the team since its earliest years.

Adam Kosberg Head of MolQ Films a new streaming service for indie films & Producer on the Academy Award winner for Best Documentary Feature, The Fog of War! Adam also interviewed Bill Clinton. He also directed media for museums, including the National September 11th Museum. Thank you for listening & supporting the podcast :) https://www.buymeacoffee.com/sneakies https://www.paypal.com/paypalme2/anonymouscontent Funds will go to sound and editing. Paypal (friends & family) petcarebuddies@gmail.com https://www.patreon.com/sneakies Instagram @marylinartist LinkedIn: Marylin Hebert Please Subscribe to our YouTube:) https://www.youtube.com/user/Fellinijr/videos Zombie Diaries: https://youtu.be/tBmgi3k6r9A Our books :) Young Adult wizard book series: "Margaret Merlin's Journal" by A. A. Banks at Amazon! :) https://www.instagram.com/margaretmerlinsjournal/ MMJ Book I The Battle of the Black Witch https://www.amazon.com/Margaret-Merlins-Journal-Battle-Black-ebook/dp/B01634G3CK MMJ Book II Unleashing the Dark One Science fiction action adventure https://www.amazon.com/Margaret-Merlins-Journal-Unleashing-Dark-ebook/dp/B01J78YH6I MMJ Book III The Mask of the Parallel World An Adventure in Italy https://www.amazon.com/Margaret-Merlins-Journal-Parallel-World-ebook/dp/B01KUGIZ8W/ MMJ Book IV The Quest for the Golden Key https://www.amazon.com/Margaret-Merlins-Journal-Quest-Golden-ebook/dp/B076FTTDQN Top kids podcast: Enchanting Book Readings https://podcasts.apple.com/us/podcast/enchanting-book-readings-reviews/id1498296670 Other awesome podcasts: Thrilling Stories, Enchanting Book Readings, Girl's Guide To Investing, Legitimately Mallie & The Haunting Dairies of Emily Jane. Support this podcast: https://anchor.fm/girlmogul/support --- Support this podcast: https://anchor.fm/filmaddicts/support

Emily Kernan Rafferty, President Emerita of The Metropolitan Museum of Art, served for 40 years at the Museum: as chief of institutional advancement, Senior Vice President of External Affairs, and as President from 2005 to 2015. As President, she was the Museum's chief administrative officer, supervising a staff of 2,000 full- and part-time employees and volunteers. Ms. Rafferty's global experience took her to more than 50 countries as she worked with government and private sector officials on initiatives involving funding, marketing, international art loans, legislative affairs, and cultural issues. Ms. Rafferty served as a Board member of the New York Federal Reserve Bank (2011-2017; Chair, 2012-2016); as Chair of NYC & Company, the city's official tourism and marketing organization, from 2008-2020, where she continues to serve on the Executive Committee; and as a UNESCO Senior Adviser for Heritage Protection and Conservation (2015-2017). She is a Board member of the National September 11 Memorial & Museum (2005-present; Vice Chairman, 2019-present), Carnegie Hall (October 2018- present), Civitella Ranieri's Artist Residency Program (2018-present), the Hispanic Society Library & Museum (2019-present), and the Association of Art Museum Curators (2019-present). She also serves as a Board member of PJT Partners (2015-present) and Koç Holdings, Istanbul (2018-present). An Advisory Board member of the Bipartisan Congressional Commission for the feasibility of an American Museum of Women's History in Washington, D.C. (May 2015-December 2016), she continues to serve as an advisor to the project, which received Congressional approval to proceed as part of the Smithsonian in December 2020. As principal of Emily K. Rafferty & Associates, she currently consults for several organizations, including Russell Reynolds Associates, serving as a Senior Advisor to the Firm in the Non-Profit Sector and independent clients. She is a member of the Advisory Council of the American University of Beirut and a member of the Advisory Board of The European Fine Arts Fair (TEFAF). She served as a Hauser Leader at Harvard Kennedy School's Center for Public Leadership (Fall 2019). A member of the Council on Foreign Relations, she also lectures widely on topics relating to non-profit and board governance issues, fundraising, and cultural heritage. The recipient of many awards and honors, Ms. Rafferty was named by Crain's New York Business one of New York City's 100 most influential women over a five-year period, and in Fall 2015 she was elected to its Hall of Fame. She is a recipient of New York University's Lewis Rudin Award for Exemplary Service to New York City, a Lifetime Achievement Award from the 9/11 Memorial and Museum, and was recognized as a Living Landmark by the New York Landmarks Conservancy. Don't forget to check out my book that inspired this podcast series, The Caring Economy: How to Win With Corporate Social Responsibility (CSR). --- Support this podcast: https://anchor.fm/toby-usnik/support

Alice Greenwald, President and CEO of the National September 11th Memorial and Museum,  joins host Scott Rechler for the 4th episode of the new conversational series, Recalibrate Reality: The Future of New York.  Join them for an in-depth discussion about how Alice and her team navigated Covid-19, and how we can look at crises of the past to provide a model for the future, and give us hope that there will be brighter days ahead. Recalibrate Reality is presented in collaboration with Regional Plan Association (RPA).

What should you ask an assistant to take off your plate? What should new leaders think about when building a board? I'm back with Alice Greenwald, president and CEO of the National September 11 Memorial and Museum, for a short quick fire episode. If you missed our longer interview head back to episode one.

How would you go about building a new museum in a politically heated moment and aimed at telling the story of one of the nation's greatest tragedies? How would you rally staff and board to make the endeavor a reality? Join me as I talk with Alice Greenwald, CEO and President of the National September 11 Memorial and Museum, about what it took to imagine and realize the museum - located in the footprints of the original World Trade Center in downtown Manhattan, seven stories below grade. From the importance of working with communities to a vision of creating experiences through storytelling, as well as ongoing adaptations during the pandemic, we explore how Greenwald's leadership style has evolved and lessons she's learned along the way .

Rabbi Elliot J. Cosgrove, PhD, has served as the Spiritual Leader of Park Avenue Synagogue in New York since 2008.Ordained at the Jewish Theological Seminary in 1999, Rabbi Cosgrove earned his PhD at the University of Chicago Divinity School. His dissertation, Teyku: The Insoluble Contradictions in the Life and Thought of Louis Jacobs examines the life and legacy of one of the leading Anglo-Jewish theologians of the 20th century and reflects his own passion for the intersection of Jewish scholarship and faith.Rabbi Cosgrove is the author of ten collections of selected sermons, In the Beginning (2009), An Everlasting Covenant (2010), Go Forth! (2011), Hineni (2012), A Place to Lodge (2013), Living Waters (2014), Stairway to Heaven (2015), Rise Up! (2016), A Coat of Many Colors (2017), and Provisions for the Way (2018). He is the editor of Jewish Theology in Our Time: A New Generation Explores the Foundations and Future of Jewish Belief, hailed as a provocative and inspiring collection of essays by leading rabbis and scholars.Rabbi Cosgrove is a recognized leader in Conservative Judaism, the broader Jewish community, and the community-at-large. He sits on the Chancellor's Cabinet of JTS and on the Editorial Board of Conservative Judaism. A member of the Executive Committee of the Rabbinical Assembly, he is also an officer of the New York Board of Rabbis and a member of the Board of UJA-Federation of New York. He serves as Rabbinical Advisor on Interfaith Affairs for the ADL and is a member of the Council on Foreign Relations. Rabbi Cosgrove also serves on the Board of Trustees of Hillel at the University of Michigan and on the National Board of Governors of Hillel at the University of Pennsylvania.Rabbi Cosgrove was honored to represent the Jewish community at the National September 11 Memorial Museum during the visit of Pope Francis to New York in September 2015.Rabbi Louis Jacobs was born July 17, 1920.An overview of his illustrious life can be found in Rabbi Louis Jacobs' New York Times Obituary by Ari L. Goldman, July 9, 2006.Another recent overview of his biography and scholarship, that draws on Rabbi Cosgrove's dissertation, is: “Louis Jacobs: We Have Reason to Believe,” by Prof.Marc Zvi Brettler,Prof.Edward Breuer in TheTorah.com.The website louisjacobs.org makes available resources pertaining to the life and work of Rabbi Jacobs including an extensive archive of essays, articles and videos.The clip featured in the podcast is taken from this video retrospective in which Rabbi Jacobs surveys the nearly 50 books he wrote.Rabbi Elliot Cosgrove delivered a lecture on Rabbi Jacobs at Oxford  in 2010. For questions and comments, email Rabbi Ed Bernstein at myteacherpodcast@gmail.com. Follow the My Teacher Podcast on social media: Twitter: @PodcastTeachFacebookInstagram