9/10: The Final Hours
9/10/2001 A Coptic Millennial New Year's Eve
"Nayrouz or Neyrouz is a feast when martyrs and confessors are commemorated within the Coptic Orthodox Church. Celebrated on September 11, the day is also the start of the Coptic new year and its first month, Thout."
The 21st century started in 2001 of course. September 10th 2001 would simply seem to be an esoteric reference to a (Coptic) September 10th 2000 New Year's Millennial Eve of sorts.Coptic New Year's Day (9/11) also happens to be the date they broke ground on the Pentagon back in 1941.
"Its celebration falls on the 1st day of the month of Thout, the first month of the Egyptian year, which for 1901 to 2098 usually coincides with 11 September, except before a Gregorian leap year when it is 12 September."
This is worth checking out.
9/10: The Final Hours HD source: Дејан ЦзБг
E-Teaming Up & Performing Art, Publicity Stunt Hoaxes
"A project by the E-Team, a performance art group, also dealt with the building itself. In Quick Click, the E-Team attempted to make photographic portraits of people in the studio from a helicopter that was hovering outside the building. Two members of the E-Team were in the helicopter, another in the studio space, and people were lined up along the windows to have their portraits taken. In another project (127 Illuminated Windows), the E-Team attempted to write their names on the exterior of the Towers themselves..."
Magician's Assistant and Janitor and 9/11 eyewitness: William Rodríguez
"William Rodríguez is a former janitor at the North Tower of the World Trade Center during the September 11, 2001, attacks and was in the basement of the North Tower when American Airlines Flight 11 crashed into the building. After the attacks he received several awards for heroism for helping in the evacuation of many survivors. The Birmingham Mail said about Rodriguez: "He bravely led firefighters up the stairs, unlocking doors as they climbed and helping hundreds of survivors" and The Lancashire Telegraph added: "He then went back into the building in a bid to rescue his friends at the top of the tower, on the 106th floor. But he kept finding others who needed his help as well." Rodriguez became prominent in the Latino community for helping to institute an economic amnesty program for victims of 9/11 who were undocumented workers."
"Magician's assistant As a young man, Rodriguez worked under the stage name "Roudy" as an assistant to magician James Randi."
"Magician's assistant As a young man, Rodriguez worked under the stage name "Roudy" as an assistant to magician James Randi. A December 2005 article published on the Internet claimed that Rodriguez was adroit at insinuating himself into the good graces of Randi's targets and eliciting incriminating information, and that he had previously been featured on television in Puerto Rico escaping from a chained straitjacket while hanging from a burning rope."
"WTC janitor Rodriguez moved to New York from Puerto Rico and, according to the Internet article linked above, he "found himself a small fish in the big pond of New York magicians." He took a day job as a custodian at the World Trade Center. The article goes on to say that Rodriguez's show business aspirations fell by the wayside when his responsibilities for cleaning the office of Governor Mario Cuomoat the WTC expanded to include organizing Governor Cuomo's press conferences, and that after Cuomo left office in 1994, Rodriguez was reassigned to cleaning the windowless emergency staircases of the North Tower, where he remained until September 11, 2001."
"September 11 attacks Rodriguez said he usually clocked in at 8:00 a.m. and rode an elevator to the 106th floor, where Hispanic employees of the Windows on the World restaurant fed him a free breakfast. However, on the morning of September 11, 2001, Rodriguez was half an hour late and so reported directly to a basement office of his employer, American Building Maintenance. On September 11, Rodriguez told CNN that shortly before the plane hit the tower he was in the basement when: ...we hear like a big rumble. Not like an impact, like a rumble, like moving furniture in a massive way. And all of sudden we hear another rumble, and a guy comes running, running into our office, and all of skin was off his body. All of the skin. We went crazy, we started screaming, we told him to get out. We took everybody out of the office outside to the loading dock area. Rodriguez's early accounts repeatedly mentioned a large fireball that shot down the elevator shafts and exploded through the doors, causing serious burn injuries to a man who happened to be standing in front of one of the freight elevator doors. This was consistent with similar reports by numerous other witnesses who saw fireballs erupting and blowing out elevator doors and burning people. In September 2002, Rodriguez said in an CNN interview: ...and at that terrible day when I took people out of the office, one of them totally burned because he was standing in front of the freight elevator and the ball of fire came down the duct of the elevator itself, I put him on the ambulance."
"Rodriguez also claimed to have seen hijacker Mohand al-Shehri scoping out the building prior to the attacks, in June 2001."
"Rodriguez also claimed to have seen hijacker Mohand al-Shehri scoping out the building prior to the attacks, in June 2001. A Daily News article says he told the FBI and the 9/11 Commission that he recognized the man after a brief, chance encounter months prior to the terrorist attacks. "It is believed that American Airlines Flight 11 hijacker Mohamed Atta cased New York City targets, including the Diamond District, but Rodriguez may have given the 9/11 panel the first eyewitness testimony about a hijacker inside one of the towers before the terror strike."
"Rodriguez became prominent in the Latino community for helping to institute an economic amnesty program for victims of 9/11 who were undocumented workers."
"Subsequently, Rodriguez traveled around talking about a theory and his experiences on 9/11, giving motivational lectures and discussing disaster management. The Herald newspaper of Glasgow characterized him as "the poster boy for a movement currently sweeping the globe… the 9/11 Truth Campaign." He titled his website "911keymaster", appearing on TV and having himself photographed frequently with a 'master key' to the World Trade Center, which, he has alleged on BBC and Dutch TV and C-SPAN, saved hundreds of lives. He also used the title "Last Man Out", touring in the UK and the US with that phrase. Rodriguez has also employed the "Last Survivor of the World Trade Center" slogan. His website william911.com states that he "helped fifteen persons from the WTC to safety." Newspapers articles state that he raised 122 million dollars for the victims of 9/11."
source: William Rodriguez - Wikipedia
"The Ground Zero Grassy Knoll"
"As a boy shining shoes in Puerto Rico, William dreamed of being wrapped in a straitjacket and suspended upside down from a flaming rope. “That was going to be my big trick. It was my goal to become a magician, the greatest illusionist in the Caribbean basin.” Later, Rodriguez met James Randi, a.k.a. the Amazing Randi, the magician best known as a debunker of supernatural claims, offering the One Million Dollar Paranormal Challenge to anyone able to demonstrate verifiable evidence of psychic powers.
“Randi was my mentor,” said William. “I admired him for his tricks but also because he never said they were anything but tricks. He separated the truth from the phony.” William moved to New York, but beyond some gigs at Mostly Magic, his career did not take off. He started working for a cleaning company in the World Trade Center. He’d stay there twenty years. On 9/11, William was late. Instead of mopping the stairwells on the 110th floor, where he almost certainly would have died, he was chatting with the maintenance crew on level B-1 in the basement. “I heard this massive explosion below, on level B-2 or 3. I saw this guy come up the stairs. The skin on his arms was peeled away . . . hanging. Then I heard another explosion, from above. That was the first plane, hitting the building.” In possession of one of the few master keys in the building, William led firemen up the stairwells. He was responsible for getting at least a dozen people out of the towers. Trying to escape as the North Tower fell, he found himself beneath a half-buried fire engine. “I told myself this is going to be a slow death, but I should make it last as long as I could. My training as an escape artist helped me. I knew to be calm. They found me just in time. I understood my whole life had been pointing to this moment.” Acclaimed as “the last man pulled from the rubble,” William became a hero of 9/11. “I was at the White House. They took my picture with President Bush.” Four years later, after repeatedly being rebuffed in his attempts to tell officials his story about the basement explosion, William is suing the U.S. government under the rico statute, legislation drafted to prosecute Mafia families. The suit reads like an Air America wet dream, with Bush, Cheney, Rumsfeld, Condoleezza Rice, John Ashcroft, George Tenet, Karl Rove, and others (the Diebold Company is thrown in for good measure) listed as defendants. “They say I’m a conspiracy theorist; I call them conspirators, too,” William says. “It is like Randi said. There’s reality, and there’s illusion. When illusion becomes reality, that’s a problem. Nine-eleven is a giant illusion. Besides, what can they do to me? I’m a national hero, Bush told me so himself.” "
James Randi Teams Up With The News To Prank The Public
"In February 1988, Randi tested the gullibility of the media by perpetrating a hoax of his own. By teaming up with Australia's 60 Minutes program and by releasing a fake press package, he built up publicity for a "spirit channeler" named Carlos, who was actually artist Jose Alvarez, a.k.a. Deyvi Peña, whom Randi described as a "friend". Randi would tell him what to say through sophisticated radio equipment. According to the 60 Minutes program on the Carlos hoax, "it was claimed that Alvarez would not have had the audience he did at the Opera House (and the potential sales therefrom) had the media coverage been more aggressive (and factual)", though an analysis by The Skeptic's Tim Mendham concluded that, while the media coverage of Alvarez's appearances was not credulous, "it [the hoax] at least showed that they could benefit by being a touch more skeptical". The hoax was exposed on 60 Minutes Australia; "Carlos" and Randi explained how they had pulled it off."
"The Artist Residency Program in the Twin Towers"
"The program was initiated four years ago and provided emerging artists with studio space on the 91st and 92nd floors of the North Tower. Artists worked in painting, sculpture, new media, photography, and art installation and were selected by a jury for residencies that lasted six months. At the end of each six-month period, the studios were opened to the public. Thousands of people came to the Open Studios each year. The LMCC also organized public performances in the large plaza of the Trade Center for thousands of audience members. . . a venue often noted as one of the city's most democratic public spaces.
I'd like to focus initially on what was lost in terms of the Towers themselves—the architecture, the icons, and, for us, the "subjects" for over one hundred and fifty artists and cultural workers and producers. Slowly, I will highlight what has been lost in terms of opportunities, possibilities, context, and a whole world of references in the form of visual but also conceptual and political material. You have to remember that we did not go to work every day into the buildings simply because our offices and studios happened to be there, but precisely because they were located in the Twin Towers and our desire was to analyze them from within. Let me start for instance with Martina Gecelli, who in the year 2000, photographed abandoned office spaces at the Trade Center that were left in complete disrepair. For Martina, the architecture, the space, and the psychology of the space became her subject matter (Fig. I).
A project by the E-Team, a performance art group, also dealt with the building itself. In Quick Click, the E-Team attempted to make photographic portraits of people in the studio from a helicopter that was hovering outside the building. Two members of the E-Team were in the helicopter, another in the studio space, and people were lined up along the windows to have their portraits taken. In another project (127 Illuminated Windows), the E-Team attempted to write their names on the exterior of the Towers themselves (Fig. 2)."
"Many other projects dealt with the specificity of the Trade Center site. In a performance entitled The Land of Far Beyond, Susan Kelly embarked on a pilgrimage up the staircase from the first floor to the 91st floor. For My America (I am Still Here), Emily Jacir documented purchases from every store of the Trade Center, which revealed the mechanics of power in global trade and production. Taketo Shimada envisioned a project on the escalator steps entitled Meeting, for which he would write poetry on the escalator steps describing a love affair that arises after a chance meeting.
Kevin and Jennifer McCoy, new media artists, created a fictive company called Airworld, which, eerily, has a logo of two airplanes, flying in each other's directions and joined at the wings. Their company Web site had absurd advertising banners that critiqued the sterile language used by corporate America. One banner read Safe Ascent, another, Welcome We Are Air. During their residency the McCoy's also broadcast from their studios an FM radio signal that you could hear if you were driving on the West Side Highway.
Another important loss on 9/11 was access to the views, this particular vantage point on the city. These views and that particular vision of the city, its topography and geological profile provided a unique opportunity for individuals, whether at work in their offices, visiting the observation deck or dancing at Windows on the World. Subject matter for numerous paintings created in the residency programs, such as Joellyn Duesberry's Cloud Over Mid-Town Brooklyn and Manhattan and Sonya Sklaroff's WTC Series, these views of the city were also central to many sculptural, installation, or performance-based projects. Matthew Bakkom, in 1 WTC Cinema, explored issues relating to the building, the city, and architecture in film screenings that were open to the public. It was a beautiful experience to watch cinema and art films with the skyline of New York City visible through the windows. For Picture Motion, Douglas Ross installed motorized blinds on the windows, which, in a darkened room, created a stroboscopic effect—the city looked like a film projected in slow motion. The last work that was produced in the WTC studios, on September 4th, was a project by Naomi Ben Shahar. She invited her friends to a party and provided everyone with headlamps. The room was covered with mylar so the city lights and the movement of the partygoers intermixed in a sort of a liquid, reflective environment.
Countless projects were destroyed. Micki Watanabe's, Floorplan Collage: WTC 91st floor and 15 Park Ave.A project by Christyian Nguyen referencing the Asian panel landscape painting tradition, A Thousand Peaks and Myriad Ravines, had been installed in the Port Authority's offices (Fig. 3). Jeff Konigsberg's untitled work in progress that he had worked on for four months—carving, painting, peeling—creating an incredible three-dimensional experience out of dry-wall. Simon Aldridge's minimalist wall sculptures that reference skateboard and BMX structures, and Hot Fun in the Summertime, a piece which illustrated his struggle in rendering the towers as light structures that emphasized verticality but at the same time allowed light to come in and reflection to take place.
Just a week before the attacks, Justine Cooper moved all of her work from the past two years to the WTC studio. Everything was stored there during the attack, including her three-dimensional luminous sculptures of gene sequences, a sculptural MRI of her hands, and numerous photographs from electron microscopes (Fig. 4). Kara Hammond also lost many, many paintings and drawings. Again, she had stored some of her work from the past two years in the studio, including Showroom Floor, Voskhod Interior, and Concrete Warehouse (Fig. 5)."