Podcasts about New York Harbor

In Episode 213 of the Transition Drill Podcast, Jessica “Jess” Quezada (Episode 86) returns with an unfiltered and powerful story of resilience. A former Marine Corps Sergeant, Jess's military career ended in 2020 with an Administrative Separation. Faced with uncertainty and the loss of identity, she began living in a bus while pursuing a rough vision for LiboRisk, a travel and wellness company for veterans and first responders.In this conversation, Jess shares the real struggles of transition, from the shame of separation to the challenges of building a company from nothing. She explains how LiboRisk grew into a thriving community built on three pillars: adventure, wellness, and cultural immersion. She also discusses the importance of mindfulness, intentionality, and connection as tools for veterans to rediscover resilience and belonging.Jess opens up about her own battles, including sobriety, and her transformative ibogaine treatment. She also recounts her participation in the 2025 Navy SEAL Swim in New York Harbor, part of her year of Misogi challenges.For veterans and first responders, this episode offers encouragement and proof that life after service can be full of growth, adventure, and purpose.The best podcast for military veterans, police officers, firefighters, and first responders preparing for veteran transition and life after service. Helping you plan and implement strategies to prepare for your transition into civilian life.Follow the show and share it with another veteran or first responder who would enjoy this.CONNECT WITH THE PODCAST:Instagram: https://www.instagram.com/paulpantani/WEBSITE: https://www.transitiondrillpodcast.comLinkedIn: https://www.linkedin.com/in/paulpantani/SIGN-UP FOR THE NEWSLETTER:https://transitiondrillpodcast.com/home#aboutQUESTIONS OR COMMENTS:paul@transitiondrillpodcast.comSPONSORS:Trident CoffeeGet 15% off your purchaseLink: https://tridentcoffee.comPromo Code: TDP15GRND CollectiveGet 15% off your purchaseLink: https://thegrndcollective.com/Promo Code: TRANSITION15Total Force Plus ConferenceLink: https://totalforceplus.orgPendleton Surf ClubLink: https://pendletonsurfclub.com

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

1. "Plentiful Country, The Great Potato Famine and the Making of Irish New York" by Professor Tyler Anbinder details the experiences of famine Irish immigrants who arrived in New York between 1845 and 1850, highlighting their journey from hardship to significant socioeconomic advancement. A primary source for this account is the extensive records of the Immigrant Savings Bank. Unlike other immigrant records, such as those from Castle Garden and early Ellis Island, which were lost to fire, these "test books" captured detailed biographical information—including names, occupations, mother's maiden names, family members, and arrival details—used as a security measure in the absence of photo IDs. This data enabled the author to trace individual immigrant stories. The narrative begins with the devastating Great Potato Famine in Ireland, caused by a fungus that thrived in the cool, damp climate, destroying the staple crop on which much of the population depended. Fleeing starvation, many, often the strongest, endured perilous voyages. They frequently traveled through Liverpool, England, to access cheaper passage, only to face overcrowded and disease-ridden "coffin ships" across the Atlantic, where typhus and cholera were common. Arrival in New York was typically unceremonious, with immigrants disembarking directly onto docks before Castle Garden became a central reception point. Upon arrival, many Irish immigrants, like Bartholomew O'Donnell, initially found work as day laborers, often in physically demanding construction jobs in impoverished areas such as Five Points and its infamous Old Brewery. They also faced significant prejudice rooted in their Catholicism and racial stereotypes, exemplified by "no Irish need apply" notices and movements like the Know Nothing Party. Despite these challenges, the Irish displayed remarkable ambition, determination, and entrepreneurial spirit. They were diligent savers, motivated by the psychological scars of the famine to establish emergency funds in banks. The book provides numerous examples of their success: Captain James Kavanagh of the 69th Regiment (Irish Brigade) fought heroically in the Civil War, later finding a civil service position. The Lynches saved for a decade before moving west to become successful farmers in Minnesota, founding Irish communities. The Ruddics, after missing the gold rush in California, became landlords and real estate investors in San Francisco. Michael Quigley built a thriving boat business in New York Harbor, which his son Bill Quigley successfully continued. Tailor George Fox rose to prominence through savvy marketing, even creating clothes for figures like President Millard Fillmore. Most notably, Michael Failen, a billiards champion, and his son-in-law Hugh Colander patented an improved pool table cushion, mass-produced their high-quality tables, and became wealthy, even supplying President Ulysses S. Grant with a custom table. Anbinder's most significant discovery was the extent to which these famine Irish, often portrayed as permanently stuck in low-wage jobs, actively overcame discrimination and lack of education to climb the socioeconomic ladder through their immense resourcefulness and entrepreneurial drive. 1859 FIVE POINTS

Max Trescott talks with Ken Solosky, the NYPD's Chief Pilot on 9/11, about his experiences managing helicopter operations on one of the most catastrophic days in American history. Though Ken wasn't flying at the moment of the attacks, he was on the ground coordinating the NYPD's aviation response. He recounts how what began as a seemingly routine aircraft accident quickly escalated into a full-blown national emergency. The aviation unit scrambled a standard rescue package—Bell 412s with divers and crew chiefs, and patrol helicopters—only to face total communication breakdowns. Cell service and landlines failed, radio channels were overloaded, and misinformation, including reports of enemy fighter jets, created unprecedented confusion. Ken recalls the surreal moment of watching the second plane hit the South Tower live on TV and initially being unable to process the reality. He explains why rooftop rescues weren't feasible—smoke obscured visibility, doors were locked or inaccessible, and the risk of engine flameout in the intense heat made the mission too dangerous. Still, he and his team documented the scene extensively and continued daily aerial photography for nearly a year afterward. Ken describes how foreign and domestic aviation units offered immediate support, with helicopters arriving from other cities—even LAPD offering to send their fleet. Yet due to lack of coordination, many of these aircraft were unknown to NYPD at the time and went unused in the response. He speaks candidly about the emotional toll, having lost 10 close friends among the 23 NYPD officers killed, and how that pain continues with the rise in 9/11-related cancer deaths among first responders. Post-9/11, Ken was instrumental in implementing a “96-hour standalone” plan for the NYPD, designed to maintain operations without headquarters support. Staffing schedules were restructured to ensure long-term response capacity. He shares how the aviation unit has evolved over the years—growing from six helicopters to a modern fleet including Bell 429s, a Bell 407 trainer, and a fixed-wing Caravan used for radiation scanning of incoming ships to New York Harbor. Ken also offers a detailed look at what a typical day is like for an NYPD pilot—flying patrol missions, conducting surveillance, responding to foot and vehicle pursuits, and supporting SWAT teams. He explains how the aircraft are equipped with cutting-edge tools like high-def thermal imagers, tactical radios, moving maps, and address-targeting cameras that can zoom in on a license plate from miles away. These tools enable precise coordination with ground teams and real-time intelligence, greatly improving safety and effectiveness. The conversation also delves into pilot recruitment and training, safety management system (SMS) implementation, and Ken's personal advice for those interested in joining a law enforcement aviation unit. He emphasizes that character and work ethic matter just as much as flight hours. In lighter moments, Ken shares stories of flying Barbara Bush to West Point when Marine One had mechanical issues, and being told by Yankees legend Derek Jeter that flying for the NYPD was cooler than being the Yankees' shortstop. He also describes dramatic rescues, like locating a man stranded on a sandbar after his friend swam off—and later finding that friend safe on another island. Ken currently flies both a Bell 407 and an Augusta 109 for corporate clients and continues to teach and speak for the FAA and EAA. His legacy and continued contribution to aviation safety and training are evident throughout the episode. The interview is both a sobering reflection on 9/11 and a celebration of how aviation supports public safety in today's complex world. If you're getting value from this show, please support the show via PayPal, Venmo, Zelle or Patreon. Support the Show by buying a Lightspeed ANR Headsets Max has been using only Lightspeed headsets for nearly 25 years! I love their tradeup program that let's you trade in an older Lightspeed headset for a newer model. Start with one of the links below, and Lightspeed will pay a referral fee to support Aviation News Talk. Lightspeed Delta Zulu Headset $1299 NEW – Lightspeed Zulu 4 Headset $1099 Lightspeed Zulu 3 Headset $949Lightspeed Sierra Headset $749 My Review on the Lightspeed Delta Zulu Send us your feedback or comments via email If you have a question you'd like answered on the show, let listeners hear you ask the question, by recording your listener question using your phone. News Stories Magnets cause complete AHRS failure Charges dropped against teen pilot detained in Antarctica Cessna 195 bent when pilot's seat slides backwards during takeoff Pilot freezes when plane hit by downdraft New research warns of drone risks to aircraft Duffy Calls Alaska Aircraft Accident Rate ‘Unacceptable' Plane Crash in North Pole, Alaska - Stinson 108 Mentioned on the Show Buy Max Trescott's G3000 Book Call 800-247-6553 Lightspeed Delta Zulu Headset Giveaway NTSB News Talk Podcast UAV News Talk Podcast Rotary Wing Show Podcast Max's FLYING column: Deadly Doors: Distractions Still Posing Threats to Pilots Ken Solosky's "Solo Sky" YouTube Channel Free Index to the first 282 episodes of Aviation New Talk So You Want To Learn to Fly or Buy a Cirrus seminars Online Version of the Seminar Coming Soon – Register for Notification Check out our recommended ADS-B receivers, and order one for yourself. Yes, we'll make a couple of dollars if you do. Get the Free Aviation News Talk app for iOS or Android. Check out Max's Online Courses: G1000 VFR, G1000 IFR, and Flying WAAS & GPS Approaches. Find them all at: https://www.pilotlearning.com/ Social Media Like Aviation News Talk podcast on Facebook Follow Max on Instagram Follow Max on Twitter Listen to all Aviation News Talk podcasts on YouTube or YouTube Premium "Go Around" song used by permission of Ken Dravis; you can buy his music at kendravis.com If you purchase a product through a link on our site, we may receive compensation.

Craig, Derek, and Ben sit down with VJ Geronimo, Oris' CEO of the Americas, to talk about the brand's latest release, the Aquis New York Harbor II, and Oris's unexpected ties to baseball and country music. We cover the story behind Oris's sustainability projects, play a round of “This or That” with VJ, and dig into what makes the brand different as an independent watchmaker.   Make sure to check out the sponsor of our podcast, Delugs! Delugs is a great place to get all your watch straps and accessories. Definitely check them out! Delugs website: https://delugs.com/   Follow us on Social Media: Instagram: https://www.instagram.com/wristenthusiast Instagram: https://www.instagram.com/wristenthusiastradio Facebook: https://www.facebook.com/wristenthusiast TikTok: https://www.tiktok.com/@wristenthusiast   Follow Craig: https://www.instagram.com/craig_karger/ Follow Ben: https://www.instagram.com/benswatches/ Follow Derek: https://www.instagram.com/theminutemon/ 

250 Years Ago (August 1775) The Continental Congress ordered the Quakers in New York City to submit a list of its male members between ages 16 and 60. The pacifist Quakers refused. Soon after, a group of conscientious objectors (probably the Quakers) sent £152 to the Committee of Safety in support of the Revolution. Admiral Samuel Graves instructed George Vandeput, captain of the HMS Asia, anchored in New York Harbor, to arrest any delegates of the Continental Congress he encountered, as well as "rebel general officers or the chief radical leaders." 150 Years Ago (August 1875) The Cold Spring Recorder noted that, soon after Mr. O'Brian's dog was shot dead at the foot of Fair Street, a dog belonging to Mr. Groundwater was stabbed in the neck on Furnace Street and dogs owned by J.E. Dore and James Balley were poisoned. A pig on Kemble Avenue also died, probably after eating poison set out for dogs and cats. A dozen "well-fed aboriginees" camped overnight in the grove north of Secor Street in Nelsonville, according to The Recorder. When a performance scheduled for the next day was postponed due to rain, the Native Americans earned pennies (the equivalent of quarters today) by shooting them off posts with arrows. Three merchants installed hand pumps and hoses to bring water to their elevated Main Street buildings. A group of older West Point cadets who attacked a plebe at his guard post as what they said was a prank were surprised when he clubbed two over the head with his musket and stabbed another in the thigh with his bayonet. All labor was suspended for a day at West Point so guns could be fired at intervals to honor former President Andrew Johnson, who died July 31. A "nightwalker" was arrested late on a Tuesday and jailed but released in the morning without charges. The Recorder praised the action, saying that "if no one is allowed to prowl around after midnight, we shall surely have no burglaries." The Recorder noted that a dog carcass had been lying on Main Street at Kemble Avenue for a week, perhaps because the village ordinance did not specify who should remove it. A street vendor selling peaches was stopped by the constable and asked for his license. Although he carried a peddling permit from Peekskill, he pleaded ignorance of the Cold Spring law. The officer escorted him to the village limits. He Said, She Said After an accusation in August 1875 by Constable Travis, prosecutors charged Robert Cronk and his wife, Elizabeth, with keeping a "disorderly house" and a "resort of thieves" at their home near Cold Spring known as The Willows. Justice William Clark heard testimony. Constable Travis said that he knew The Willows "to be a home of bad repute. I know Eliza McClean [a boarder] has a bad character, and Mary Ida [a daughter] is bad, too." A.R. Newcomb told the judge that he had visited The Willows and seen "a good many names, obscene pictures, half-nude women and various names written and drawn on the walls." He added: "The general reputation among officers" is that it was "a house of prostitution and for thieves." Elizabeth Cronk said the names and drawings were on the walls when they moved in two years earlier. She said there was "never any noise or disturbance" and that she "never kept anything but water to drink." Her father backed her up, saying the house was always "quiet and still." Robert Cronk said that Capt. Reuben Clark let him use the house in exchange for maintenance, and that a group of Cold Spring men who had a reputation for thievery "came up here one Sunday [for a visit] about a month ago." After a reprimand from the justice, the Cronks were discharged. 125 Years Ago (August 1900) Stages left Cold Spring hourly for a traveling "colored camp meeting" on the Carmel road. "We promise good singing and speaking," said the Rev. W.H. Eley. The next week, The Recorder reported that many residents had been disappointed because there were only four Black people when at least 25 were expected. Mrs. William Wa...

BEFORE ANNAPOLIS:  1/4: Sailing the Graveyard Sea: The Deathly Voyage of the Somers, the U.S. Navy's Only Mutiny, and the Trial That Gripped the Nation by  Richard Snow  (Author) https://www.amazon.com/Sailing-Graveyard-Sea-Deathly-Gripped/dp/1982185449 On December 16, 1842, the US brig-of-war Somers dropped anchor in the New York Harbor at the end of a voyage intended to teach a group of adolescents the rudiments of naval life. But this routine exercise ended in catastrophe. Commander Alexander Slidell Mackenzie came ashore claiming he had prevented a mutiny that would have left him and his officers dead. Some of the thwarted mutineers were being held under guard, but three had already been hanged at sea: Boatswain's Mate Samuel Cromwell, Seaman Elisha Small, and Acting Midshipman Philip Spencer, whose father was the secretary of war, John Spencer. 1841

Memories of hijinx at Newsday sports and my job at a publishing company, raising hell and laughing like crazy...My father and his best friend's heroics on a sinking ammunition ship, the S.S. El Estero, in the New York Harbor in 1943.

In 1939, Robert Moses sprung his latest project upon the world -- the Brooklyn-Battery Bridge, connecting the tip of Manhattan to the Brooklyn waterfront, slicing through New York Harbor just to the north of Governor's Island.To build it, Moses dictated that the historic Battery Park would need to be redesigned. And its star attraction the New York Aquarium would have to be demolished.The aquarium was housed in the former military fort Castle Clinton which had seen so much of New York City's history pass through its walls under the name Castle Garden -- first as an early 19th century entertainment venue and later as the Emigrant Landing Depot, which processed millions of newly arriving immigrants.This valuable link to American history would surely have been lost if not for activists like Albert S. Bard, a revolutionary landmarking advocate who countered and disrupted Moses every step of the way.In this episode, Greg interviews another landmarking superstar -- author and civic activist Anthony C. Wood -- on the occasion of his new biography of Bard titled Servant of Beauty: Landmarks, Secret Love, and the Unimagined Life of an Unsung New York Hero.In his research,  Wood discovered a personality far more interesting than his public persona and a man with far more at stake than just his beliefs in preservation.Visit the website for more information and images of things discussed on this show. This episode was edited by Kieran Gannon. 

When Prospect Park was first opened to the public in the late 1860s, the City of Brooklyn was proud to claim a landmark as beautiful and as peaceful as New York's Central Park. But the superstar landscape designers — Frederick Law Olmsted and Calvert Vaux — weren't finished.This park came with two grand pleasure drives, wide boulevards that emanated from the north and south ends of the park. Eastern Parkway, the first parkway in the United States, is the home of the Brooklyn Museum and the Brooklyn Botanic Garden, its leafy pedestrian malls running through the neighborhood of Crown Heights. But it's Ocean Parkway that is the most unusual today, an almost six-mile stretch which takes drivers, bikers, runners and (at one point) horse riders all the way to Coney Island, at a time when people were just beginning to appreciate the beach's calming and restorative values.Due to its wide, straight surface, Ocean Parkway even became an active speedway for fast horses. When bicycles became all the rage in the late 1880s, they also took to the parkway and avid cyclists eventually got their first bike lane in 1894 — the first in the United States.FEATURING: A tale of two cemeteries — one that was demolished to make way for one parkway, and another which apparently (given its ‘no vacancy' status) thrives next to another.  Get your tickets for the Bowery Boys Evening Cruise of New York Harbor by visiting Like Minds TravelVisit the website for more information about other Bowery Boys episodes

This week we discuss the loss of the USS Turner, a Gleaves-class destroyer that sank off of New York City in January 1944. **Jump to around 13:30 to get right into the action**Sources: "Gleaves class destroyers (1940)." https://naval-encyclopedia.com/ww2/us/gleaves-class-destroyers.phpNaczi, Robert F. "Special: Tragedy Strikes in New York Harbor." U.S. Naval Institute, December 1995, https://www.usni.org/magazines/proceedings/1995/december/special-tragedy-strikes-new-york-harborVerga, Christopher. "Sinking of the U.S.S. Turner: Tragedy, Heroism, and Mystery." Fire Island News, 26 Dec 2024. https://www.fireislandnews.com/history/sinking-of-the-u-s-s-turner-tragedy-heroism-and-mystery/#:~:text=Huus%20rapidly%20mobilized%20his%20crew,survivors%20before%20additional%20help%20arrivedSupport the show

S04E16 - L'histoire du port de New YorkLe port de New York, l'un des plus grands et des plus dynamiques au monde, est un véritable moteur du commerce international et de l'économie américaine. Situé à l'embouchure de l'Hudson River, il s'étend sur plusieurs terminaux à New York et dans le New Jersey. Ce port historique, autrefois porte d'entrée des immigrants arrivant à Ellis Island, est aujourd'hui un hub essentiel pour le transport maritime, avec des millions de conteneurs transitant chaque année. En plus de son importance économique, il offre un panorama spectaculaire, avec la Statue de la Liberté et les gratte-ciel de Manhattan en toile de fond.Retrouvez tous les liens des réseaux sociaux et des plateformes du podcast ici : https://linktr.ee/racontemoinewyorkHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

For nearly 140 years, she has stood in New York Harbor, torch held high, a symbol of freedom and hope. But last week, a French politician made headlines by saying they want her back. "Give us back the Statue of Liberty," Raphaël Glucksmann declared, arguing that America has abandoned the values she used to represent. He even quoted the famous poem inscribed at her base: "Give me your tired, your poor, your huddled masses yearning to breathe free."But here's the problem—those words were never part of the statue's original meaning. When France gifted the statue to the United States in 1886, she was named Liberty Enlightening the World. She was not meant to symbolize mass migration, but the ideals of ordered liberty—the kind of liberty that could only be sustained by a virtuous and free people. She was a monument to the political and spiritual inheritance of Christendom, a testament to the unique civilization that made true freedom possible.Yet over time, that meaning was rewritten. Lady Liberty was no longer a symbol of Christian self-government, but of open borders and a rootless, multicultural myth. So what happens when a nation forgets what made it free in the first place? Today, we're setting the record straight.This episode is brought to you by our premier sponsors, Armored Republic and Reece Fund, as well as our Patreon members and donors. You can join our Patreon at https://patreon.com/rightresponseministries or you can donate at https://rightresponseministries.com/donate.The Statue of Liberty was never meant to be a symbol of mass migration, yet somehow, that's the version of history we've been sold. How did we get here? How did a monument to liberty itself become a rallying cry for open borders? And more importantly—what does this shift reveal about the way modern America understands itself? Today, we're going back to the real history, breaking down the myth, and pointing toward a better vision.Let's get into it.*MINISTRY SPONSORS:*ENTER TO WIN 2 FREE TICKETS TO OUR APRIL 2025 CONFERENCE BY Signing Up For Private Family Bankings Email List1. Email Banking@privatefamilybanking.com2. Use Subject Line: April Ticket Giveaway3. Provide Your Full Name & Contact Phone Number4. Private Family Banking will be in touch for the winner of the tickets.*Private Family Banking*How to Connect with Private Family Banking:1. FREE 20-MINUTE COURSE HERE: ⁠https://www.canva.com/design/DAF2TQVcA10/WrG1FmoJYp9o9oUcAwKUdA/view⁠2. Send an email inquiry to ⁠chuck@privatefamilybanking.com⁠3. Receive a FREE e-book entitled "How to Build Multi-Generational Wealth Outside of Wall Street and Avoid the Coming Banking Meltdown", by going to ⁠https://www.protectyourmoneynow.net⁠4. Set up a FREE Private Family Banking Discovery call using this ⁠link: https://calendly.com/familybankingnow/30min⁠5. For a Multi-Generational Wealth Planning Guide Book for only $4.99, use this link for my affiliate relationship with "Seven Generations Legacy": ⁠https://themoneyadvantage.idevaffiliate.com/13.html⁠*Reece Fund: Christian Capital - Boldly Deployed⁠https://www.reecefund.com/*Dominion: Wealth Strategists* is a full-service financial planning and wealth management firm dedicated to putting more money in the hands of the church. With an education focused approach, they will help you take dominion over your finances.https://reformed.money/#immigration #christianity #america

ABOUT ELIOT HOROWITZEliot Horowitz is the Founder and CEO of Viam, an engineering platform unlocking AI, automation, and data for devices in the physical world. With a deep commitment to advancing technology, Eliot leads Viam in helping companies build solutions across robotics, food and beverage, climate, marine, industrial manufacturing, and more.A career software developer and technology leader, Eliot co-founded MongoDB in 2007, writing the core code base for the pioneering database and leading the engineering and product teams for 13 years as CTO. MongoDB, which went public in 2017, has since reached a market cap of over $20 billion. Before MongoDB, he co-founded the ecommerce company ShopWiki and served as CTO, and he began his career in software development in the R&D group of adtech firm DoubleClick.Eliot is passionate about using technology to address pressing societal issues, including working with WAVS to protect marine life in the North Atlantic and supporting Billion Oyster Project's work to help restore New York Harbor's ecosystem.SHOW NOTES:The origin story of founding Viam (2:56)How Viam can be a game-changing platform, accelerating robotics software & hardware 10x to 100x (4:33)The ideation journey behind Viam: Building a platform that simplifies the integration of hardware and software development (6:11)Solving challenges with seamless APIs, a modular system, the right abstraction layers, and a comprehensive platform (9:54)Key questions for identifying the right abstraction layers at Viam (11:32)Optimizing your platform for flexibility and ease of use (13:32)The evolution of product building, from first-hand experience to customer-driven (16:33)How Eliot's MongoDB Experience shaped Viam's user-centric approach, open-source strategy, business model & ecosystem approach (18:48)Cultivating developer communities & leveraging community insights at MongoDB & Viam (23:01)Frameworks for deciding on your business model & pricing (24:52)Eliot's approach to building developer tools & products used by engineers (26:23)Aligning your eng team & stakeholders on the product vision (29:51)What it means to deeply understand engineers and how they interact with your product (31:10)Strategies for eng leaders to better connect with customers (34:38)Viam's real-world applications & what's next (36:31)Rapid fire questions (39:31)LINKS AND RESOURCESViam - At Viam, we believe in the power of technology to make our world smarter, happier, and more sustainable. We're building a revolutionary engineering platform for problem-solving in the physical world, so that innovators from all disciplines can address humanity's most complex challenges with practical solutions. Together with our partners, we're committed to making a lasting positive impact on industries, communities, and the planet.This episode wouldn't have been possible without the help of our incredible production team:Patrick Gallagher - Producer & Co-HostJerry Li - Co-HostNoah Olberding - Associate Producer, Audio & Video Editor https://www.linkedin.com/in/noah-olberding/Dan Overheim - Audio Engineer, Dan's also an avid 3D printer - https://www.bnd3d.com/Ellie Coggins Angus - Copywriter, Check out her other work at https://elliecoggins.com/about/

Today on America in the Morning   Hearing Today On Trump Deportations Justice Department lawyers have until noon Eastern Time today to explain to a federal judge why planes filled with alleged Venezuelan gang members flew to El Salvador despite the judge's order to have the flights return to America. The details from Correspondent Rich Johnson.    Weather Death Toll Rises Extreme weather, including dust storms and wildfires, along with tornadoes that moved through more than a dozen states have claimed the lives of at least 42 people, and more severe weather is expected before the end of the week. Correspondent Julie Walker reports on some of the hardest-hit areas of the nation.     Israel-Hamas Ceasefire Ends The ceasefire is over in the Middle East after Hamas refused repeated hostage deal offers that came from Israel, the US, Egypt, and Qatar. Israel's defense forces struck numerous locations in the Gaza Strip.    Trump-Putin Phone Call President Trump and Russian President Vladimir Putin will talk together by phone to discuss the US-brokered ceasefire it offered Ukraine, and how both sides can proceed. Washington correspondent Sagar Meghani reports that the Kremlin is expected to offer proposals of their own.   Lady Liberty Stays Although it sits proudly in New York Harbor, the White House is responding to a French politician who suggested the United States should return one of its most well-known monuments. Correspondent Clayton Neville reports.    The Smallest St. Patrick's Day Parade Thousands packed a street in Arkansas for what's considered the shortest St. Patrick's Day Parade in the world. Lisa Dwyer reports.      Trump & Putin Call Expectations An important day in the White House that could lead to peace as President Trump will speak with Russian President Vladimir Putin over the phone today as the Trump administration pushes for a cease-fire in Russia's ongoing war in Ukraine. Correspondent Clayton Neville previews the meeting.     US Hits Yemen Again President Trump is again warning that Iran can face dire consequences if the Iranian-backed Houthis in Yemen continue attacking ships in the Gulf of Aden and the Red Sea, saying Iran's leadership will be held responsible for every shot the Houthis fire. The US again struck targets in Yemen for the third straight night. Correspondent Donna Warder reports.    Biden Kids Secret Service Protections Ended President Trump has ordered that Secret Service protection be taken away from former President Joe Biden's two adult children.    Don't Use Our Song It was a song from the 1990's that became a signature hit for an alternative rock group called Semisonic that many felt was a “last-call” anthem for bars, but the group says they don't want their classic song being used to portray shackled people being deported. Washington correspondent Sagar Meghani reports.    Willis Ordered To Pay Fulton County District Attorney Fani Willis has been ordered to pay more than $54,000 for violating Georgia's open records laws in relation to the prosecution of President Donald Trump.     Deported Doctor A doctor and college professor was deported to Lebanon following her apprehension by ICE, despite having a valid US Visa, which came after the Department of Homeland Security said she supported terrorists, and attended the funeral of Hezbollah leader Hassan Nasrallah. Correspondent Haya Panjwani reports.    Not Buying American A wave of anti-Americanism is growing overseas. Correspondent Lisa Dwyer reports that some European nations are planning to boycott American products.    Finally   President Trump announced he will release 80,000 pages of unredacted files today about the assassination of President John F. Kennedy.   Learn more about your ad choices. Visit podcastchoices.com/adchoices

A note about the work “Ditch and Drain, Fill and Build” from Amy Benson for the Michigan Quarterly Review's Winter 2025 Issue: I've been working on a manuscript about rising seas and the myths about floods that have been told in the past, are being told now, and might be told in the future. I got interested in the relationship between land and water and realized that I knew very little about the “ground” I was standing on in Manhattan, my home for fifteen years. I started researching the history of the land and how it has hardened and expanded over the centuries, and how the fresh water has been drained off, poisoned, and exiled to sewage pipes below ground. Following the water reveals the colonial and capitalist transformation of the island: what starts with foot long oysters in the pre-contact waters around Mannahatta ends with minuscule oysters trying to attach to new human-made reefs in New York Harbor made of waste metal and oyster shells salvaged from restaurants. 

On this podcast, learn about the history of the Statue of Liberty in New York Harbor; find out what a ‘polar vortex' is; hear about expressions from the past that are still in use, like ‘dialed in;' scientists find lead pollution in ancient Greece; then, expressing probability on Lesson of the Day.

On this podcast, learn about the history of the Statue of Liberty in New York Harbor; find out what a ‘polar vortex' is; hear about expressions from the past that are still in use, like ‘dialed in;' scientists find lead pollution in ancient Greece; then, expressing probability on Lesson of the Day.

Episode Summary This week on Live Like the World is Dying, Miriam and Inmn talk with the Billion Oysters Project about their goal of growing one billion oysters in the New York Harbor. Need we say more? It's one billion oysters! Guest Info Billion Oysters Project is a nonprofit dedicated to restoring oyster beds to the New York Harbor through public education initiatives. They can be found at https://www.billionoysterproject.org/ Host Info Inmn can be found on Instagram @shadowtail.artificery. Miriam can be found making funnies on the Strangers' Blue Sky @tangledwilderness.bsky.social Publisher Info This show is published by Strangers in A Tangled Wilderness. We can be found at www.tangledwilderness.org, or on Twitter @TangledWild and Instagram @Tangled_Wilderness and Blue Sky @tangledwilderness.bsky.social You can support the show on Patreon at www.patreon.com/strangersinatangledwilderness. Immortal Choir Kickstarter: https://www.kickstarter.com/projects/tangled-wilderness/the-immortal-choir-holds-every-voice Find out more at https://live-like-the-world-is-dying.pinecast.co This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-69f62d for 40% off for 4 months, and support Live Like the World is Dying.

In this episode of SPACES, Dimitrius is joined by returning guest Dena Prastos, Founder and CEO of Indigo River, a pioneering women-owned design firm that specializes in progressive waterfront architecture and climate adaptation. As the first "waterfront architect," Dena has blazed a trail in creating resilient solutions at the water's edge, with projects spanning New York Harbor and beyond. Today we explore the evolution of waterfront infrastructure in New York City, particularly focusing on the development of a first-of-its-kind waterfront code. Dena discusses navigating complex regulatory environments, the pivotal role architects play in waterfront projects, and how the pressing challenges of climate change and rising sea levels are shaping the future of design. We also dive into the process of drafting adaptable regulations, and how sustainable, resilient design will be key in facing environmental challenges head-on. SPACES Episode 169: Waterfront ArchitectureSPACES "Going Green" Limited SeriesIf you enjoy our content, you can check out similar content from our fellow creators at Gābl Media. Spaces Podcast Spaces Podcast website Spaces Podcast // Gābl Media All rights reserved

Submarines are the silent hunters of the deep. From the large nuclear-powered boats of today's navies, to the German U-Boats of the First and Second World Wars, these machines hidden beneath the waves can change the course of history. In the United States, the first submersible was the Turtle with an egg-shaped hull designed by David Bushnell. This hand-powered submarine was used in a failed attempt to sink the British ship HMS Eagle in New York Harbor in 1776. Nearly one hundred years later the HL Hunley, a submarine built by the Confederate States of America, would become the first to sink an enemy vessel during the American Civil War. Learn more about your ad choices. Visit megaphone.fm/adchoices

Two years after the sinking of the USS Discovery, with Solid Snake confirmed dead and framed as the primary suspect, new FOXHOUND recruit Jack (codenamed Raiden) is sent to infiltrate the off-shore decontamination facility known as Big Shell, constructed shortly after the sinking of the Discovery, which, according to the government, spilled thousands of gallons of crude oil into the New York Harbor. Raiden is given orders to rescue the President of the United States and other hostages from the Sons of Liberty, a terrorist group who have seized control of Big Shell. The terrorists demand 30 billion dollars and claim that if this demand is not met, they will destroy Big Shell, igniting the oil spill in the harbor and burning the chlorides used for cleanup, creating high levels of dioxins that would wipe out the bay's ecosystem and become the worst environmental disaster in history. Meanwhile, US Navy Seal Team 10 carries out its own rescue mission, which is quickly thwarted. After coming face to face with Vamp, one of the terrorists with the Sons of Liberty, Raiden meets Iroquois Plissken, a surviving member of SEAL Team 10, who takes him to Peter Stillman, an explosives expert who reveals that Fatman—his former student now with the terrorists—has rigged Big Shell to explode. *Quick Note* One extra point to add about the conversation regarding Plissken and "spoilers" is that my first time playing the game--just a month ago for this series--was the Substance version, and then again with the latest HD collection release on PC. Because of this, I didn't see how the original Sons of Liberty release asked players whether they had played the first game or not. If you say that you have *not* played the original, you skip the Tanker sequence and would not have that part of the story for context as you meet Plissken, nor would you recognize the legendary Solid Snake if you were to see him face to face. This definitely changes things, and even in the game's latest release, you could skip the Tanker sequence and go straight to Big Shell. Still, I'm not sure why you would do that, and so under the context of the modern gaming landscape, and considering we have already covered Metal Gear Solid 1 on this podcast, it seems silly to pretend we don't know what's going on with Plissken. I appreciate your understanding.

MUTINY OR MURDER? 2/4: Sailing the Graveyard Sea: The Deathly Voyage of the Somers, the U.S. Navy's Only Mutiny, and the Trial That Gripped the Nation by  Richard Snow  (Author) https://www.amazon.com/Sailing-Graveyard-Sea-Deathly-Gripped/dp/1982185449 On December 16, 1842, the US brig-of-war Somers dropped anchor in the New York Harbor at the end of a voyage intended to teach a group of adolescents the rudiments of naval life. But this routine exercise ended in catastrophe. Commander Alexander Slidell Mackenzie came ashore claiming he had prevented a mutiny that would have left him and his officers dead. Some of the thwarted mutineers were being held under guard, but three had already been hanged at sea: Boatswain's Mate Samuel Cromwell, Seaman Elisha Small, and Acting Midshipman Philip Spencer, whose father was the secretary of war, John Spencer. 1904 PORT ARTHUR GUNFIGHT

MUTINY OR MURDER?  1/4: Sailing the Graveyard Sea: The Deathly Voyage of the Somers, the U.S. Navy's Only Mutiny, and the Trial That Gripped the Nation by  Richard Snow  (Author) https://www.amazon.com/Sailing-Graveyard-Sea-Deathly-Gripped/dp/1982185449 On December 16, 1842, the US brig-of-war Somers dropped anchor in the New York Harbor at the end of a voyage intended to teach a group of adolescents the rudiments of naval life. But this routine exercise ended in catastrophe. Commander Alexander Slidell Mackenzie came ashore claiming he had prevented a mutiny that would have left him and his officers dead. Some of the thwarted mutineers were being held under guard, but three had already been hanged at sea: Boatswain's Mate Samuel Cromwell, Seaman Elisha Small, and Acting Midshipman Philip Spencer, whose father was the secretary of war, John Spencer. 1867 FARRAGUT'S FLAGSHIP FRANKLIN

MUTINY OR MURDER? 3/4: Sailing the Graveyard Sea: The Deathly Voyage of the Somers, the U.S. Navy's Only Mutiny, and the Trial That Gripped the Nation by  Richard Snow  (Author) https://www.amazon.com/Sailing-Graveyard-Sea-Deathly-Gripped/dp/1982185449 On December 16, 1842, the US brig-of-war Somers dropped anchor in the New York Harbor at the end of a voyage intended to teach a group of adolescents the rudiments of naval life. But this routine exercise ended in catastrophe. Commander Alexander Slidell Mackenzie came ashore claiming he had prevented a mutiny that would have left him and his officers dead. Some of the thwarted mutineers were being held under guard, but three had already been hanged at sea: Boatswain's Mate Samuel Cromwell, Seaman Elisha Small, and Acting Midshipman Philip Spencer, whose father was the secretary of war, John Spencer. 1776 NEW YORK FROM THE HUDSON (NORTH RIVER)

MUTINY OR MURDER? 4/4: Sailing the Graveyard Sea: The Deathly Voyage of the Somers, the U.S. Navy's Only Mutiny, and the Trial That Gripped the Nation by  Richard Snow  (Author) https://www.amazon.com/Sailing-Graveyard-Sea-Deathly-Gripped/dp/1982185449 On December 16, 1842, the US brig-of-war Somers dropped anchor in the New York Harbor at the end of a voyage intended to teach a group of adolescents the rudiments of naval life. But this routine exercise ended in catastrophe. Commander Alexander Slidell Mackenzie came ashore claiming he had prevented a mutiny that would have left him and his officers dead. Some of the thwarted mutineers were being held under guard, but three had already been hanged at sea: Boatswain's Mate Samuel Cromwell, Seaman Elisha Small, and Acting Midshipman Philip Spencer, whose father was the secretary of war, John Spencer. 1752 PANAMA

Opening & closing music courtesy of Tuba Christmas Bowling Green Ky (Used with permission ) Tennebaum (opening) Carol of The Bells (closing) Digital Tax Tip of the DayDon't use your debit card at the Publix Pharmacy!The charge will appear on your statement as “grocery”. The store receipt is printed on heat-sensitive paper and will fade over time. Later this week on Content Matters, a homage to Bob Newhart -- I place a call to Joesph Pulitzer -- editor and publisher of the New York Sun and benefactor of Lady Liberty. He raised the money to build the pedestal on which she stands in New York Harbor.

Longtime liveaboard Stephenie Hollyman's life sounds like a fable. The seasoned captain and author was hooked early to the aquatic life, with stops as a New York Harbor tugboat cook, a Fulbright scholar and a lower Manhattan resident that shared a loft with a Pulitzer Prize-winning author. And that's just the tip of the iceberg.

On Saturday, November 9 elected officials, city residents and environmental leaders gathered on the banks of the Hudson River near the BASF toxic waste site in the City of Rensselaer to express strong opposition to a new incinerator project. A New Jersey company called Harbor Rock is eyeing the property to incinerate river sediment from the bottom of the Hudson River and possibly other rivers and New York Harbor. In part one of Hudson Mohawk's coverage, we hear from Jessica Welshans, a local resident, and Judith Enck, former regional administrator for the federal EPA. By Mark Dunlea for Hudson Mohawk Magazine. Audio provided by Sonja Stark.

October 28, 1886. French sculptor Frederic Bartholdi's colossal statue symbolizing French-US friendship is dedicated in New York Harbor. This episode originally aired in 2022.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

500 miles in an open 24 foot center console two years in a row? In 2022 Jeff and his son traveled the coast of New Jersey, into New York Harbor, up the Hudson, through the New York State Barge Canal System to Lake Ontario, across an inland sea to the Saint Lawrence River.  In 2023, they started at the intersection of the Mohawk and Hudson Rivers and went through Lake Champlain into Quebec, up the Saint Lawrence to Montreal, through the massive commercial locks to the Thousand Islands.  Epic adventures, and way more accessible than you think.  Email us at theboatyshow@gmail.com, follow on Instagram, Facebook, and Youtube @theboatyshow, leave a comment on Spotify. Thanks for listening! 

In June 1917, fourteen steamships and three Navy transports gathered in New York Harbor. They were accompanied by four cruisers, thirteen destroyers, two armed yachts, and two fuel tankers. By the end of the month, the flotilla had reached France, delivering fourteen thousand fresh American troops to join the Allied forces in World War I.

July 22, 2024 - We highlight an effort to restore the oyster population in New York Harbor and potentially improve the conditions of this polluted water. Our guests are Pete Malinowski, executive director of the Billion Oyster Project, and Luis Melendez, a boat captain with Riverkeeper.

Imagine you are on a ferry slowly approaching Liberty Island in New York Harbor. The sky is a brilliant blue with just a few clouds drifting overhead. There's a cool breeze; it's hitting your face, and the smell of salt from the ocean water is around you. To your right is the New York City skyline. Lower Manhattan is magical with all of its high rises, but nothing compares to the Statue of Liberty ahead of you. She's massive! In fact, if she were a building, she'd be about 20 stories high. Being in front of her, Lady Liberty is surreal because she's so well-known and such a powerful symbol of hope, freedom, and democracy. She's also a symbol of the United States, but what's her story? In today's lesson, you're going to hear a short story about the Statue of Liberty. In it, you'll hear ten irregular past tense verbs. Here they are: 1. to be 2. to take 3. to break 4. to bring 5. to build 6. to stand 7. to make 8. to flee 9. to see 10. to lead Make sure to subscribe for more English lessons!: https://podcast.americanenglishpodcast.com // Audio Lessons ABOUT ______ ○ English Idioms:

On this special Independence Day edition, Andrew Walworth, Carl Cannon, and Tom Bevan discuss the tradition of political oratory on the Fourth of July and preview three memorable addresses delivered to mark the occasion. First, a Fourth of July speech given by civil rights champion and former slave Frederick Douglass in 1852, followed by a reading of the speech by actor Ossie Davis, recorded by the Library of Congress in 1966. Next, a 1962 address by President John F. Kennedy given just days before the Fourth of July to Peace Corps workers in Mexico City. The introduction is followed by a recording of JFK's delivery of the speech. JFK delivered the remarks in response to the growing leftward movement of governments throughout Latin America just months before the Cuban Missile Crisis. And finally, a 1986 Independence Day address by President Ronald Reagan, followed by a recording of Reagan's delivery of the speech. The speech was given from the deck of the aircraft carrier the USS John F. Kennedy in New York Harbor, as part of a celebration of the restoration and centenary of the Statue of Liberty.

SailGP kicks off summer in New York City with the Mubadala New York Sail Grand Prix on June 22 - 23, 2024. Todd Harris, Stevie Morrison and Emily Nagel breakdown 3 Big Questions to set the scene for an exciting weekend of race action in New York Harbor.

The image of the skyscraper is the hallmark of the modern city. Futuristic depictions of urban landscapes nearly always feature towering structures high above the clouds. Today, however, developing countries seem to be putting the greatest effort into building the most impressive skyscrapers, from the Burj Khalifa in the UAE, to the future Jeddah Tower in Saudi Arabia. Whether you love them or hate them, it's worth asking why we build skyscrapers and what their role will be in future cities. Today on Faster, Please! — The Podcast, I sit down with Jason Barr, author of Cities in the Sky: The Quest to Build the World's Tallest Skyscrapers.Barr is a professor of economics at Rutgers University – Newark, and is a member of the Rutgers Global Urban Systems PhD program. He is also the author of Building the Skyline: The Birth and Growth of Manhattan's Skyscrapers.In This Episode* Demand for the skyscraper (1:35)* The end of the skyscraper (9:00)* Pillars of commerce (14:05)* The sky's the limit (18:36)* Manhattan extension (23:04)* Trends and styles (24:23)Below is a lightly edited transcript of our conversationThe image of the skyscraper is the hallmark of the modern city. Futuristic depictions of urban landscapes nearly always feature towering structures high above the clouds. Today, however, developing countries seem to be putting the greatest effort into building the most impressive skyscrapers, from the Burj Khalifa in the UAE, to the future Jeddah Tower in Saudi Arabia. Whether you love them or hate them, it's worth asking why we build skyscrapers and what their role will be in future cities. Today on Faster, Please! — The Podcast, I sit down with Jason Barr, author of Cities in the Sky: The Quest to Build the World's Tallest Skyscrapers.Barr is a professor of economics at Rutgers University – Newark, and is a member of the Rutgers Global Urban Systems PhD program. He is also the author of Building the Skyline: The Birth and Growth of Manhattan's Skyscrapers.Demand for the skyscraper (1:35)Pethokoukis: You obviously love skyscrapers, you're fascinated by them. You wrote a whole book on them. So I want to just start the very basic question: Why do skyscrapers fascinate you, and the people who aren't fascinated by them, what are they missing?Barr: Great questions. Well, I grew up on Long Island, and so I was always really fascinated with Manhattan. I grew up in the '70s, and so New York back then was a very dark, mysterious place for a youngster. So when I grew up, actually when I was in college, I started hanging out in the city. So to me, the skyline of Manhattan and New York City, they're just two sides of the same coin. I really developed an interest in tall buildings through my interest and fascination with Manhattan's and New York City's history.So when I came to Rutgers Newark, I just started doing research on tall buildings, especially in New York City: what was driving the heights of these buildings; there's all these interesting height cycles over the last 150 years. So I wrote my first book on the Manhattan skyline, that was called Building the Skyline, and then after that I thought, let's see what's happening around the rest of the world. So to me, the tall building is an interesting thing because it's part and parcel with urbanization, and I just personally don't think you could have one without the other.I think some people might think that skyscrapers are, at least for rich countries, that they're kind of a 20th-century thing that we did as we were growing, and cities were getting bigger, and skyscrapers are a part of that, but now they're for other parts of the world, parts of the world which are still urbanizing, which are still getting richer. Are skyscrapers are still a thing for America?The short answer is yes, but, given how dense cities are, tall buildings are just being added a lot more slowly. In New York, the population's kind of slowly growing, and so tall buildings are either replacing old buildings that are wearing out, or there's always this push by big global corporations to be in the newest and latest tall building. And obviously there's this international demand from people abroad to have an apartment — or national demand — global demand to have some kind of residential presence in New York. But the thing is, people in other countries: cities, planners, residents in other countries, they look to New York, they look to Chicago, and I think, for many of them, they see New York as something they want to emulate, and New York is, on just about almost any metric, it's probably the top global city. And so I think cities today, especially in China, and Asia more broadly, they're trying to kind of replicate that, what you might call “the Manhattan magic,” and I don't really think people in this country realize how much tall building construction is going on in other cities around the world. People in this country are a little bit more cynical about the role of the tall building in urban growth and in housing affordability and stuff like this, but other cities are basically going gangbusters, is a way to put it.Is that driven by fundamental economic forces? Is it kind of a “national greatness” kinds of signaling projects? Are there fundamental reasons, not just to build skyscrapers, but to build very, very tall skyscrapers?“All of the above” is the answer. Fundamentally, if there's many, many people who want to be working, living, playing in the center, the only way to accommodate the demand to be in the center is to make more land in the center, so the skyscraper, at its heart, is what I would say is “land in the sky.” You just go vertical because there's constraints on how much land there is in the center.Having said that, definitely the skyscraper is seen as a kind of way to advertise, a way to increase confidence in the place, and so you boost foreign direct investment. Observatories are huge money makers, there's a big tourism component. A lot of critics will say, “Oh, it's all about spectacle and ego.” But really, for the book, and just more broadly my research, when you drill down on the economics of these super tall buildings, not all of them are profitable or profit-maximizing, but they all have a strong economic rationale.Now, I just also want to say, China has its own thing going on, which sort of compounds the skyscraper construction-building there because of their unique governance structure and land ownership structure, but China is building tall buildings because, at the end of the day, there's a kind of, what I call, a “tall building bling.” There's just something that says, “This city is growing, this city is drawing population.” So we build a tall building and we boost confidence in the city. And it works, really.The pictures don't have to be too old, if you look at a picture of Shanghai, it looks a lot different not too long ago. It's almost as if a whole other city just kind of fell from the sky, a city of skyscrapers, and where there were once goats or something grazing, there's now a bunch of massive skyscrapers.Yeah, absolutely, and there's a few reasons for this. One is, I think Chinese residents more broadly see tall building as a natural way to live. I've talked to many Chinese residents, whether it's Shanghai or other cities, and to them, to own an apartment in the sky is like the greatest thing. It's their equivalent of the single family home in the United States. Living in the clouds is something many people aspire to. The other aspect of it is, Shanghai, and the Pudong neighborhood in Shanghai, was chosen basically to become a financial hub. Basically, the leaders were looking at Hong Kong and they thought it was a, to quote, I forgot the author, but to quote him in the book, the Shanghai officials and the National Party officials saw Hong Kong as that frustratingly free city, and so they wanted to create a kind of a financial hub in Shanghai. And so the Shanghai Tower, for example, is part of that plan to really draw people's attention to Shanghai, itself. So it was part of a master plan.The end of the skyscraper (9:00)I certainly remember that, after 9/11, I heard about “the end of the skyscraper,” and then during the pandemic, I heard about “the end of the city.” Now I'm guessing that cities will continue to exist and we're going to continue to build tall buildings.Absolutely. What 9/11 did was just make sure that we make our building safer with fire protection measures. In many Asian countries, every 20 floors, let's say, are mechanical floors, so you have the electric equipment, and the heating, and the cooling, and water tanks. They can also surround these in concrete, and so if something's on fire, if a floor is on fire, they can go to this hermetically sealed floor, a refuge floor, and stay there and be protected. And the elevator cores, they're made of concrete, and so you wouldn't have something like what happened on 9/11. So it didn't really impact the demand; 9/11 didn't impact the demand for the tall building, it just made us make tall buildings safer. And of course the downside is if you want to go into an office building, you have to have a swipe and you have to have an entry, so the negative of 9/11 was more about heightened security and increasing protections in a way that engenders a little bit more mistrust of us. But the demand didn't go away.Same thing with Covid. For big cities like New York and San Francisco, I'm sure the empty-office problem is going to dissipate. It'll take a while. This may be an overly broad statement, but the truth is, our present and future is in cities. The funny thing about the internet and social media and all that, it was supposed to allow us to suburbanize more, or run away from these big, overcrowded cities, but the truth is, social media and internet technology has just made cities even more important. So, as long as cities are growing, there'll be a demand for tall buildingsOf the tallest, I don't know, half-dozen buildings, have you been to all of them?That's a good question. I've been to the Shanghai Tower, which was the second-tallest building in the world, now is the third-tallest. The one that replaced it, I think it's [Merdeka 118] in Kuala Lumpur, I believe. I didn't go to that one yet because that just opened up recently. I've been to the Burj Khalifa, which is the world's tallest building. I'd have to look at the list. I've been to the Sears Tower, Empire State Building . . . Anyway, so I've been to a handful of them. I can't say I've been to every single one of the super-tall buildings in the worldAnd in any of those super-tall buildings, can you open a window? Why can't you open the windows in these skyscrapers?Well, the wind forces are just tremendous! The biggest problem engineering tall buildings is making sure that the building doesn't sway so that people feel it. The really fascinating thing about engineering tall buildings is this question: How do you allow the building to sway enough so that you don't have to — you don't want to over-engineer a building so that you make it perfectly stiff because that's just completely uneconomic to do that, but you want to make sure the building sways just enough so if you're sitting there reading a newspaper or drinking a cup of coffee on the top floor, you don't feel it. And so the wind forces high, a thousand feet in the air, are just so tremendous. I think if you open the window, everything would just would just blow away.I was thinking about some of those very, super-skinny residential buildings, which I guess seem to be becoming more popular, and do those people really feel the motion?From what I can tell, the short answer is no. There's one lawsuit in Manhattan, in particular, where the engineering wasn't exactly perfectly right, but I think that represents the exception that proves the rule. The building is safe, that's not the problem, it's just that, when you're dealing with these super-skinny buildings — these are kind of a new kind of breed of super-tall buildings, so sometimes the engineering isn't perfectly right, so they will figure out ways to kind of fix those problems. The problems are solvable, but sometimes if you don't get it 100 percent right, people complain, and obviously there's lawsuits and you have to go back in and tweak the engineering. But these things are selling for 70, 80, 100 million dollars for a penthouse on the 90th floor, so people still value them, and if motion sickness was a problem, they'd be worthless.Pillars of commerce (14:05)In the book, you run through a number of myths: tall buildings being only for the rich, that they drive up housing prices in cities, again, that you mentioned a little bit earlier, that they're somehow bad economic deals. All these myths all tend to be very negative.I'm not going to rename your book, but I could call it “Cathedrals in the Sky,” I mean, I think these are beautiful buildings that say a lot about human aspiration and to create a sense of awe. Boy, but some people just do not see it that way.I think there's a few strands; I've been thinking about this. There's a kind of a NIMBY strand, and sort of a NIMBY/gentrification strand. So people in the middle income, let's say, they see their housing prices going up, their rent going up, and then they see these billionaire condos, and so they, in my opinion, or based on my research, there's a confusion of correlation and causation. So the most visible manifestation in people's minds of gentrification and affordability problems are the super-slim buildings, but New York City has something like 3.6 million housing units, and if you look at the outlying areas of Queens and Staten Island, they're just covered in one- and two-family homes. Those neighborhoods have added barely any housing. So all of the housing — I'm exaggerating here when I say the word “all,” but the vast majority of new housing units happens in the center where either the zoning is more permissive, or old industrial sites come online and things like this, so people don't realize that the problem of housing affordability is citywide, it just looks naturally to be in their neighborhood where high rises are going up.Then there's another strand, which I would say is kind of the “Jane Jacobs strand” / the anti-public-housing strand. Jane Jacobs has some great points in her book, The Death and Life of Great American Cities about walkability, about eyes on the street. She wasn't a big fan of tall buildings, and this has kind of given rise to this whole movement of “human scale,” where five-story Greenwich Village buildings, or 10-story Parisian mansard-roof-type buildings are perfect, and any other deviation from that is somehow destroying the city. So there's that part of it, that people see tall buildings as somehow destroying the feel or the perfect fabric of the city. And lastly, obviously, some of the failures with the public housing policy has made people convinced that it's unhealthy to live in these tall buildings. I think that gets at what you're inquiring about. I think there's those different strains.I wonder if part of it stems for a confusion about what are cities for, and I mean cities are, for a large part, are where people to come together for jobs and to conduct commerce. And if you think of them that way, then certain things make sense; but if you think of them as, I don't know, some sort of urban retreat, where it's kind of like a garden or . . . I don't know, but it's a very different view, and perhaps it is not just about bike paths, but it's about what facilitates people to connect.Without jobs, without a labor market, there's no purpose to have a city. Maybe in the 18th or 19th century, you can create a city for the king or the empire, as are many examples, or the Vatican or something like this; so you can have these sort of political capital cities, or even Washington DC, but, fundamentally, 99 percent of the world's cities are places where people go to work, and so, if you don't allow the labor market to function properly, which means having a functioning housing market, then all these ideas about “the good city” and “the perfectly crafted city,” they kind of are irrelevant.So you have to start with: what makes a city grow, what makes people productive, and then how do we accommodate that? To the extent that we can improve design, all the better. There's always a million ways to make things better for people design-wise. I think bike lanes are great, and I think pedestrian-friendly cities are better than car-centric cities, but you can't start with designing the city first and then seeing what happens. You have to start with “let's make an attractive place to live and work” first, and then work on the design feature second.The sky's the limit (18:36)How tall are these buildings going to get?Okay, well, the next world's tallest building is going to be one kilometer: The Jeddah Tower, which had started, I think back in 2013 or 2015, had been stalled, there was some sort of political turmoil in Saudi Arabia, and they've just restarted this Jeddah Tower in the city of Jeddah. And so when that's completed, that's going to be one kilometer. There were some plans floated to have a two-kilometer building in Riyadh. I don't think anyone really thinks that's going to happen.How long does it take to get up to your office in a two-kilometer building?Well, that's the thing. They're coming up with new ways to get people up there faster. The old conventional steel cables could maybe go 500 meters or something like that, which is maybe 80 floors or something. Maybe if you had a really good cable, you can get people to 80 floors and then they'd have to switch. Now they have these composite . . . it's KONE UltraRope, which could go 1000 meters, which could go basically one kilometer continuously. So if you can get people from the ground floor to wherever their destination is within a minute, that's kind of like the golden rule here. People are not willing to wait more than a minute once they get in the elevator. The trick really is the ear pressure, and that's probably the hardest part because you're going up so quickly, the air pressure changes, so you have to figure out ways to make sure the cabin remains pressurized, and then there's the air pressure up on the highest floors. So that, I would argue, is the fundamental issue that's going to be coming next on the horizon is how to efficiently pressurize the highest floors. Let's say you're a mile high; if you're a mile high on the top floor, that's the equivalent of going from New York to Denver in a minute, or two minutes. So you have to figure out a way how to pressurize the entire building so it has a constant air pressure.If I were to look at the skyline of major American cities 50 years from now, would you expect them to be radically different, futuristic looking, maybe not two-kilometer buildings, but a lot of very, very tall buildings? Or is it again, if they're not growing, if population isn't growing, then that won't happen?People are always asking me what I think about the doom loops and all that. Pick New York as one end of the spectrum: It's always going to be adding new buildings, that's just in its DNA, and so you're going to have this kind of collage of different building styles. But other cities, smaller cities, maybe where people are moving now because working from home, they'll add a few tall buildings here, they'll have mini-skylines. Then the other cities, like a St. Louis, that's just going to have to kind of figure out a plan for growth. So I don't see the world as a kind of Jetsons-type world.I mean, you never know what's going to happen with the technology. There's one company, TK or Thyssenkrupp elevators, they're working on Maglev elevators, and this can actually be a game changer because you have these shafts, so the Maglev elevator cars, they can go up or down or they can go horizontal. Part of the goal with that is that everybody has their own — if it's an apartment building, they have their own elevator car, it takes them up to their apartment, it becomes the door. So that could be a real game changer . . . And then you could run these things horizontally. So if you have these Maglev elevators, you can not only run them horizontally within the building, but, in principle, if you could work out property rights or whatever, you could connect these things across buildings. But at the end of the day, it's really about preferences and a kind of cultural perception of the tall building, and I just don't see us in the United States us having a dramatic, country-wide rethinking of where we live. There's always going to be this desire for the single-family home in the suburbs. Now maybe that'll diminish to some degree, but as long as people see their own little house as their own little castle . . .Unlike China, where there seems to be a great desire to live in these kinds of buildings.Manhattan extension (23:04)Have you had any takers about your proposal to make Manhattan bigger?No.You would extend it by about 2000 acres and maybe build some tall buildings on that, I don't know.The idea would be to create a new mini-Manhattan extending Manhattan into New York Harbor. Just briefly, the idea was both to add more housing and add more land, and to protect lower Manhattan against sea level rises and so forth. I proposed this in a New York Times op-ed piece, and, naturally, I would say the majority of commenters and people had this sort of kneejerk reaction against it.I had a kneejerk reaction for it! I loved it!You are part of a small, select core of appreciators, let's say. Having said that, in the 21st century it's just not something I think most people are willing to wrap their heads around. SoTo me, that's an idea with the future, and I think you should not be dejected that it was not initially well-received. I think that kind of idea might actually have some legs.Trends and styles (24:23)Finally, let me ask you, whether it's because of computers or new materials, would we expect skyscrapers in the future to look any differently? I think some people would love to go back to the 1930s style. They love that style of skyscraper, and they don't like the glass-and-steel, very rectangular skyscraper; they want it to look like Gotham City or something.Actually, if you look in Manhattan, in Brooklyn there's one, I think they're calling it something like the “Dark Knight Tower” or the “Gotham Tower.” It's in Brooklyn and it has this almost art deco sort of —It slipped my mind, I was thinking art deco, yes.And there's a high rise apartment near Columbia University, which uses the same color masonry as the surrounding buildings. I think it's the Union Theological Seminary, which sold some of the land to build a high rise. It sort of blends in. So I guess the question is really architecturally speaking, and it's sort of hard to say. I think maybe there'll be some neo-historical buildings coming up here or there, but there's two things: One is that people like glass windows. People love to have light and views, and so that's really just pushing the glass buildings. I think developers like glass too, because it's easy to work with, and architects — if you're a developer and you want a super-tall building, you usually go to a handful of architects and you have some kind of design competition, and, chances are, you're going to get something that looks full of glass and has some funky geometry to it.But they seem more twisty than they used to, so they're not just perfect rectangles.Right, so you're creating a lot of illusion. The interesting thing is, at the end of the day, you can only have certain internal shapes because you need functional spaces, so you have to have illusion with the twisting and these sort of Jenga towers, and a lot of that is due to massive improvements in computer technology; so the rendering software has dramatically improved, the engineering know-how, the engineering technology improved, you can send your designs right to the manufacturer where they can then use the computer programs to design exactly the shapes and sizes.So it's the learning curve of every building that you do adds to the knowledge of how to do something a little bit different, or some version of something before, and also just massive computer power. I think there'll be a lot more of these sort of funky architectural shape. How they hold up, only time tells. In the '80s there was this massive postmodern boom with all kinds of pastiche-type buildings with all kinds of references to old buildings, and funky buildings, and some of those haven't held up as well.Frankly, I'm from Chicago, and I know exactly what you're talking about. Also being from Chicago, I appreciate you calling that building the Sears Tower rather than what other name they try to put on it. Last question: Do you have a favorite skyscraper?I'm from New York and I like the Empire State Building, and it's not just because architecturally a classic building, but it speaks to New York as a city of strivers. And the more research I did into the Empire State Building, the more I appreciate the sheer guts of these guys who built this building. And the thing is, when it was completed in 1931, Great Depression was really starting to kick into high gear, and so the building was unrented, and it kind of gave this whole mythology about how these guys didn't know what they were doing, but when you crunch the numbers, they knew exactly what they were doing. They knew what the landscape looked like for New York, and the costs, and the revenues. Nobody saw the Great Depression coming, and so to say that the Great Depression showed how foolish these were, I just think it's a bad standard to hold them to. And if you look at the revenues and them building value over its 90-whatever, 93-year history, it's been a money-maker for almost a century. After the Great Depression, it recovered and has become an icon and a moneymaker, so what's not to love about that?Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. 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America's first submarine dates to the Revolutionary War. Built by a Connecticut inventor, it sailed into New York Harbor in 1776 with a mission to blow up a British warship. It was ahead of its time — maybe a little too ahead of its time. There are a few places you can see replicas of the Turtle — and one of them is at the Connecticut River Museum in Essex.

In 1860, a vessel, adrift in New York Harbor, was towed, boarded, and searched - only to reveal that the crew had been brutally murdered. What happened aboard the oyster sloop? What IS an oyster sloop? And how did investigators link the crime to one of New York's most notorious pirates? Find out on this week's episode of the New York Mystery Machine. Available wherever you stream podcasts! Be sure to Subscribe, Rate, & Review on Apple Podcasts, Spotify, and Audible! Have a Hot Take? Call the NYMM Hot Take Hotline to leave it in a message: (917) 426-4262 Have a strange and/or paranormal story? ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Share it here!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support the show by becoming a sponsor on our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.Patreon.com/NYMysteryMachine⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ NYMM Merch! ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://nymysterymachine.myspreadshop.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠ Don't forget to follow us on all the socials: Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@NYMysteryMachine⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@NYMysteryMachine⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | X: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@NYMysteries⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@NYMysteryMachine⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -- THANK YOU TO OUR SPONSORS: AUDIBLE: Get a FREE 30 Day Trial by heading to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.AudibleTrial.com/NYMysteryMachine⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ HUNT A KILLER: Receive 20% off your first Hunt a Killer subscription box at www.HuntAKiller.com with the code NYMYSTERYMACHINE at checkout! RIVERSIDE.FM: Looking to record podcast, but need software? Head to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://riverside.fm/?via=nymysterymachine⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Sandy Hook Light Station, photo by Jeremy D'Entremont. The lighthouse that stands at the end of the long spit of land known as Sandy Hook, on the approach to New York Harbor, began service in 1764, making it the oldest standing lighthouse tower in the United States. The octagonal rubblestone tower stands 103 feet tall. Tom Hoffman The light remains active, with the Fresnel lens still in place. Ownership was transferred to the National Park Service in 1996, and the lighthouse is now part of the Gateway National Recreation Area. The tower is open seasonally, and there's a visitor center in the former keepers' house. In 1964, Sandy Hook became one of the small number of lighthouses designated a National Historic landmark. Tom Hoffman, our guest today, is the historian for the Gateway National Recreation Area. He's also the author of the book Fort Hancock, published by Arcadia Publishing. His association with Sandy Hook goes back 50 years.

Tides of Change for the Future of Waterfront ArchitectureJoin us as we dive into the world of waterfront architecture with Dena Prastos, the visionary founder and CEO of Indigo River. In this podcast, Dena shares her remarkable journey from being a licensed architect with a civil engineering background to pioneering the concept of a "waterfront architect."Through her firm, Indigo River, Dena leads a team of innovative minds dedicated to progressive waterfront architecture, resilience, and climate adaptation. Drawing on her Alaskan roots and her deep appreciation for nature's resilience, Dena discusses how her upbringing has shaped her approach to designing in some of the world's harshest conditions.From the bustling shores of New York Harbor to projects around the globe, Dena and her team tackle challenges at the water's edge with a transdisciplinary lens, blending design, engineering, and technology. With a focus on climate adaptation, Indigo River's portfolio includes transformative projects like the East Side Coastal Resiliency in Manhattan, Robert De Niro's Wildflower Studios in Astoria, and the River Ring in Williamsburg.Join us for an insightful conversation with Dena Prastos as we explore the intersection of design, nature, and technology in shaping resilient waterfront communities. This week at EntreArchitect Podcast, Tides of Change for the Future of Waterfront Architecture with Dena Prastos.Connect with Dena online at Indigo River, or find her on LinkedIn and Instagram.Please visit Our Platform SponsorsMGS Global Group can lighten your load by handling all of your drafting and rendering needs. They work is an extension of your team and follow your standards to ensure the quality and accuracy of your drawings. Visit mgsglobalgroup.com and book your free consultation today.ARCAT's SpecWizard™ is the tool that will help you save time writing specifications. It's a free, patented tool that allows you to select products and options error free and generate a three part specification in minutes. Go to ARCAT.comand try SpecWizard™ today.Visit our Platform Sponsors today and thank them for supporting YOU... The EntreArchitect Community of small firm architects.Mentioned in this episode:ArchIT

The Port Authority of New York and New Jersey is everywhere in the New York metropolitan area. Founded in 1921, its portfolio includes airports, marine terminals, bus stations, bridges, tunnels, and real estate. But its history is not widely known and its inner workings are little understood by people who traverse its domain when they fly into John F. Kennedy International Airport, ride the PATH trains from New York to New Jersey, or drive across the George Washington Bridge. Mobilizing the Metropolis: How the Port Authority Built New York (U Michigan Press, 2023), by Philip Mark Plotch and Jen Nelles, aims to fill this gap in public knowledge with a history of the Port Authority. Spanning 100 years, Mobilizing the Metropolis closely charts the evolution of the Port Authority as it went from improving rail freight around New York Harbor to building bridges and managing real estate. At the same time, the book explores the evolution of the authority's internal culture in the face of actions by elected officials in New York and New Jersey that have reduced the agency's autonomy and affected its operations. Mobilizing the Metropolis also extracts from the history of the Port Authority useful lessons about how organizations charged with solving governmental problems can win support and engage opposition. Robert W. Snyder is Manhattan Borough Historian professor emeritus of Journalism and American Studies at Rutgers University. He is completing an oral history of the COVID-19 pandemic in New York City for Cornell University Press. He can be reached at rwsnyder@rutgers.edu. 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

This surge in immigration was primarily driven by economic opportunities in the United States, which was at the height of the industrial revolution. This combined with a desire among some to escape growing political instability in Europe, while ethnic and religious violence led Jews from the Russian Empire in particular to seek a new life ...

Watch The X22 Report On Video No videos found Click On Picture To See Larger Picture The green new scam is completely falling apart. The sales of EVs is dropping and car rental services, manufacturers are in trouble. Biden is planning to sell Northeast gas reserves.Fed waiting to strike, Trump will usher in a new economy. The [DS] is panicking, their plans have not worked so they will now ramp them up. They will push to the very end. They are preparing a communication blackout. Meta, Instagram and other social media platforms have had login problems. Garland is now trying to convince the people that voter id is not necessary. Cheating plans in place. Patriots are ready, they have brought the [DS] to exactly where they want them. The real military will defend and protect at all costs.   (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:13499335648425062,size:[0, 0],id:"ld-7164-1323"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="//cdn2.customads.co/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs"); Economy  Movies Can Now Be Graded By ‘Climate Reality Check' Test Recently-released movies can now be graded on a new “Climate Reality Check” test, which will gauge on whether or not the film addressed the so-called “climate crisis.” This simple new test was inspired by the famous Bechdel Test invented by cartoonist Alison Bechdel in the mid-1980s to measure the presence of women in movies and other forms of fiction. It was created by climate change storytelling consultancy Good Energy in collaboration with the Buck Lab for Climate and Environment at Colby College in Maine. Source: breitbart.com US considers selling Northeast gasoline reserve in 2024 in draft bill  The United States may sell its 1 million barrel Northeast gasoline reserve in fiscal year 2024, according to the draft text of a funding bill released on Sunday. The reserve, first established in 2014 after Superstorm Sandy left motorists in the northeastern United States without fuel, is located in New York Harbor, New York, Boston, Massachusetts and Portland, Maine. The proceeds from the sale of the refined products in the reserve would be deposited into the Treasury's general fund, according to the text of the bill, which is likely to pass this week. Once the Northeast Gasoline Supply Reserve is closed, the secretary of energy cannot establish any new regional petroleum product reserve unless funding is explicitly requested in advance of an annual budget submitted by the president and approved by Congress, the bill stipulates.   The U.S. House of Representatives will have to vote on the bill first before the Senate can take up the package before Friday, Senate Majority Leader Chuck Schumer said. Source: apnews.com https://twitter.com/WallStreetSilv/status/1764954009226666369?s=20 Atlanta Fed's Bostic Warns Rate Cut Could Reignite Inflation There's a significant risk that a rate cut from the Federal Reserve could rekindle inflation, Atlanta Fed president Rapahel Bostic said on Monday. In an essay published on the Atlanta Fed's website, Bostic argued that the Fed should take a cautious approach to the economy, cognizant that the danger of higher inflation remains and easing monetary policy could fan the flames of rising prices. In particular, Bostic warned that a premature rate cut could trigger a surge of business activity that would raise demand and push inflation higher. “I asked one gathering of business leaders if they were ready to pounce at the first hint of an interest rate cut,” Bostic said. “The response was an overwhelming ‘yes.'” Source: breitbart.com Political/Rights Hunter Biden helped hire aides who mishandled Joe's classified documents

4/4: Sailing the Graveyard Sea: The Deathly Voyage of the Somers, the U.S. Navy's Only Mutiny, and the Trial That Gripped the Nation by  Richard Snow  (Author) https://www.amazon.com/Sailing-Graveyard-Sea-Deathly-Gripped/dp/1982185449 On December 16, 1842, the US brig-of-war Somers dropped anchor in the New York Harbor at the end of a voyage intended to teach a group of adolescents the rudiments of naval life. But this routine exercise ended in catastrophe. Commander Alexander Slidell Mackenzie came ashore claiming he had prevented a mutiny that would have left him and his officers dead. Some of the thwarted mutineers were being held under guard, but three had already been hanged at sea: Boatswain's Mate Samuel Cromwell, Seaman Elisha Small, and Acting Midshipman Philip Spencer, whose father was the secretary of war, John Spencer. 1840

1/4: Sailing the Graveyard Sea: The Deathly Voyage of the Somers, the U.S. Navy's Only Mutiny, and the Trial That Gripped the Nation by  Richard Snow  (Author) https://www.amazon.com/Sailing-Graveyard-Sea-Deathly-Gripped/dp/1982185449 On December 16, 1842, the US brig-of-war Somers dropped anchor in the New York Harbor at the end of a voyage intended to teach a group of adolescents the rudiments of naval life. But this routine exercise ended in catastrophe. Commander Alexander Slidell Mackenzie came ashore claiming he had prevented a mutiny that would have left him and his officers dead. Some of the thwarted mutineers were being held under guard, but three had already been hanged at sea: Boatswain's Mate Samuel Cromwell, Seaman Elisha Small, and Acting Midshipman Philip Spencer, whose father was the secretary of war, John Spencer. 1840 Barque John Tomlison

2/4: Sailing the Graveyard Sea: The Deathly Voyage of the Somers, the U.S. Navy's Only Mutiny, and the Trial That Gripped the Nation by  Richard Snow  (Author) https://www.amazon.com/Sailing-Graveyard-Sea-Deathly-Gripped/dp/1982185449 On December 16, 1842, the US brig-of-war Somers dropped anchor in the New York Harbor at the end of a voyage intended to teach a group of adolescents the rudiments of naval life. But this routine exercise ended in catastrophe. Commander Alexander Slidell Mackenzie came ashore claiming he had prevented a mutiny that would have left him and his officers dead. Some of the thwarted mutineers were being held under guard, but three had already been hanged at sea: Boatswain's Mate Samuel Cromwell, Seaman Elisha Small, and Acting Midshipman Philip Spencer, whose father was the secretary of war, John Spencer. 1841 The Niger Expedition

3/4: Sailing the Graveyard Sea: The Deathly Voyage of the Somers, the U.S. Navy's Only Mutiny, and the Trial That Gripped the Nation by  Richard Snow  (Author) https://www.amazon.com/Sailing-Graveyard-Sea-Deathly-Gripped/dp/1982185449 On December 16, 1842, the US brig-of-war Somers dropped anchor in the New York Harbor at the end of a voyage intended to teach a group of adolescents the rudiments of naval life. But this routine exercise ended in catastrophe. Commander Alexander Slidell Mackenzie came ashore claiming he had prevented a mutiny that would have left him and his officers dead. Some of the thwarted mutineers were being held under guard, but three had already been hanged at sea: Boatswain's Mate Samuel Cromwell, Seaman Elisha Small, and Acting Midshipman Philip Spencer, whose father was the secretary of war, John Spencer. 1861 HMS St. George, 91 guns

#NYC: Brooklyn's Atlantic Yards ready for development. Harry Siegel, TheCity.com https://www.thecity.nyc/2024/02/02/auction-atlantic-yards-endangers-hard-affordable-housing/ 1920 New York Harbor

Joseph Seligman arrived in the United States in 1837, with the equivalent of $100 sewn into the lining of his pants. Then came the Lehman brothers, who would open a general store in Montgomery, Alabama. Not far behind were Solomon Loeb and Marcus Goldman, among the “Forty-Eighters” fleeing a Germany that had relegated Jews to an underclass.These industrious immigrants would soon go from peddling trinkets and buying up shopkeepers' IOUs to forming what would become some of the largest investment banks in the world—Goldman Sachs, Kuhn Loeb, Lehman Brothers, J. & W. Seligman & Co. They would clash and collaborate with J. P. Morgan, E. H. Harriman, Jay Gould, and other famed tycoons of the era. And their firms would help to transform the United States from a debtor nation into a financial superpower, capitalizing American industry and underwriting some of the twentieth century's quintessential companies, like General Motors, Macy's, and Sears. Along the way, they would shape the destiny not just of American finance but of the millions of Eastern European Jews who spilled off steamships in New York Harbor in the early 1900s, including Daniel Schulman's paternal grandparents.Today's guest is Dan Schulman, author of “The Money Kings: The Epic Story of the Jewish Immigrants Who Transformed Wall Street and Shaped Modern America.” We trace the interconnected origin stories of these financial dynasties from the Gilded Age to the Civil War, World War I, and the Zionist movement that tested both their burgeoning empires and their identities as Americans, Germans, and Jews.