Corruption in the FDNY's Ten House on September 11th, 2001

There are several possible topics for research and discussion concerning the Ladder 10 & Engine 10 firehouse, which adjoins the former site of the World Trade Center in lower Manhattan. Because of its proximity, and perhaps by the predilections of some of its members, this firehouse played an important part in the development and execution of a planned false-flag attack, which most notably destroyed the center's two 110-story towers---buildings I now prefer to memorialize privately by calling them by their rightful names, that of "Nelson," and "David."

Even with distortions in the officially manipulated media record of the disaster all that's left for us to study, the sorting out of available facts can sometimes lead us to a subjective gleaning of truth from falsehood. For instance, by comparing inconsistencies and contradictions in the fireman's oral histories, an individual will singularly damn himself through just his own efforts. And in no way will the collected storyline that comprises the official history of 9/11 hold together any longer, or be taken seriously by rational people.

There is clear evidence that surviving members of Engine 10 and Ladder 10, firemen like John Schroeder and John Moribito, functioned as foreknowledged participants within this vast secret undertaking---and not just by being so obviously and grossly incompetent in doing their overt jobs as firemen.

We can't spare a charge of collusion from those who "died" that day either. Former Ladder 10 Captain James J. Corrigan, who retired from his city job in 1994, and became the fire safety director for Building 7 until shortly before 9/11, when Larry Silverstein assumed the lease for the entire complex, and instead of conducting a nationwide search for the best qualified candidate to handle the bigger responsibilities, Corrigan, at age 60, was elevated to serve that role.

On September 11th, Corrigan, along with five of his deputy directors, ignored the fire-law mandate, leaving unmanned the safety stations in the six-building complex, to collectively engage in a highly improbable and unnecessary, but highly publicized, "rescue" of 30 children from a ground-level nursery school located at the far corner of Building 5. After indulging in this transparently cheap and contrived sentiment, Corrigan, with five of his men---including two other retired city firemen--inexplicably join the roster of dead responders, deep within the bowels of the complex.

One of his deputies was responsible for the public announcement advising occupants of the South Tower to stay in their offices, while in the North Tower, Corrigan failed to assist firemen in working with the repeater radio system, and didn't advise them that some of the elevators were operating, so Corrigan can be said to have personally been responsible for at least several hundred of the civilian and departmental deaths that occurred that day.

But before I get fully into exploring these characters, I wanted to start with a fresh line of inquiry---in a new category that I've named: the Wanton, Unnecessary, but Apparently Purposeful Destruction of Still Further Private Property, Following the Attacks of September 11th.

An insight into the quirky nature of the conspiratorial mindset came after I discovered an online photo archive posted by somebody named Robert Segal, of images he took at ground zero a couple of days after the attack. His shots were mostly from along the corridor of Church Street, with many showing Buildings 4 and 5, but they gave off such a markedly lighter impression than those usually found of the vicinity---where a gestalt of gloom and chaos and destruction was pervasive.

In a blog, Robert Segal & Masayuki Nagare, I highlighted the visual evidence Segal provided, which documented the fact of a major art work from the Port Authority collection---perhaps the most important and valuable piece located at the Trade Center site---had survived the tower's collapses, seemingly unscathed, only to then be destroyed four days later during the recovery effort. I hazarded the guess that this was done to visually expand the debris field, and sense of area-wide destruction, as we saw in other images.

This opened the door for me to consider that previously had been unthinkable: how, or why someone, anyone, would---could---casually, or deliberately, bulldoze such a significant work of art as Masayuki Nagare's 250-ton, black-granite sculpture, "Cloud Fortress," into complete oblivion. But, I guess I learned, needs sometimes justify the means. Like a million dead Muslims, it's called collateral damage, if it's mentioned at all.

Of course, given its monetary value, and since no evidence for its destruction ever turned up---the piece may have been spirited away with a mega-Caterpillar, Shanghai-ed into some illicit art-appreciating underworld, where it serves as talisman, or reminder of all the dirty deeds done tat day in the name of slaughter and war profit.

From this, I started to gather with assurance the sense that all of the images of collapse debris had been faked for specific purposes: to exaggerate the amount of steel that logically might be expected to be the remainders of towers. This also supported a long-held theory of mine that some unknown technology of energetic weaponry had dissolved much of the actual steel structure.

But could there be any other reasons to want to expand the debris field?

Well, of course, Building 7, which had fallen, we were told, as a consequence to the destructive impacts from collapsing debris off the North Tower. Hmmm...I wondered, did all that steel really land on the Winter Garden then? (Like the damage to Fitterman Hall as seen in public imagery, can now be detected as poorly done Photoshop.)

Then I saw this document: FEMA 403 Building Performance Report chapter 6: Bankers Trust Building (Deutsche Bank/130 Liberty) and things began to get clearer.

But I confused that document with a a different one, entirely different in style and tone:
Volume II Section 1: WTC Event ec1_052903 - 1 WTC EVENT1, Quick View

From that document I gathered some special search terms:

Mike Davis, Lower Manhattan Development Corporation, 130 Liberty Documents, Property Damage Claim of DB, Volume II Sec 1, WTC, 130 Liberty Street, R.J. Lee Group for Deutsch Bank,

Those words led me to these other documents from a series:

Volume II Section 5: Detailed Building Description, 12 pages Quick View
Damage Assessment 130 Liberty Street Property, WTC Dust Signature Report, Quick View
Concrete Assessment, 130 Liberty Street Property, May 2004, Quick View
Signature Assessment, 130 Liberty Street, WTC Dust Signature, Quick View

But it was the one document with the weird code in its title, that I found to be an emotional polemic, with its plea for sympathy and justification for more good insurance money after bad. I could even hear the wail in a photo caption:

Figure 1-4. WTC-1 collapses. The collapse releases WTC Dust containing WTC Hazardous Substances. The toxic, asbestos containing WTC Dust is driven by tornado force winds into almost every crack and crevice of the Building that was ripped open and exposed to the outside environment by the previous collapse of WTC-2. The collapse of WTC-2 ripped a gash into the north face of the Building, crushed the plaza, and opened both basement Levels A and B and the Lobby area to the contaminated outside environment.

Now, at this point, here is the makings for an absolutely terrific blog about the relationships in the stories of two former next-door neighbors on Liberty Street: the 10 & 10 firehouse and Deutsch Bank, the details of which are irreconcilably at odds

In these documents, we see consultants hired by Deutsch Bank's attorneys claim that the trade tower collapses so damaged their steel-framed headquarters building that they were unable to restore it. The falling steel from the collapse of the South Tower had carved a big gash in the front of their structure, opening their building up to a massive environmental contamination hazard.

Even worse apparently, pieces of steel had fallen onto the open, second-story promenade that fronted the building on Liberty Street, collapsing it down to ground level, and even further, pushing debris into the basement and sub-basement which extended out from their building under the wide, overhanging terrace roof. This was especially damaging, because in the far north-west corner of the site, nearest to the South Tower, an underground 20,000 gallon fuel oil tank stood, the reserve fuel serving their emergency generators.

Deutsch's environmental consultants concluded that a fire resulted in the basement that compromised the structural integrity of the building's concrete foundations, and it was this factor, more than the gash, broken windows, and pollution, which circulating throughout the building that led to it's having to be demolished, at a cost to remove of over $160 million.

However, none of the details of Deutsch's debacle are to be found in the histories of those who were stationed so close-by. In fact, their stories contain rather contradictory information about how events unfold that day.

I found twenty-three members of the 10 & 10 house referenced by name in the public record, as having participated in the events of September 11th, 2001, with less than half of those being officially on duty that morning.

Only five men have transcripts from the fire department task force oral history project.

FF John Moribito, who was relieving the scheduled Ladder 10 chauffeur, Eddie Thompson, who instead was in court out on Long Island; and FF Terrance Rivera of Engine 10, who was just getting off duty, and standing outside of headquarters when the first plane hit, both responded immediately to the North tower. We'll save their stories for later.

The other three were all off-duty officers. Captain Eugene Kelty, was the "Company Commander" for Engine 10. He was on the golf course when his pager went off, and he made it back to headquarters about 9:30 a.m. Lieutenant Sean O'Malley, of Engine 10, was at home on the Upper West Side when he saw the fire on television and he rode his bicycle down to Liberty Street. Captain Paul Mallery, of Ladder 10, had just gotten off duty from a 24-hour shift, and he was showering when the first plane hit.

The similarly named Mallery and O'Malley are very important to this narrative, and it is my luck that they were both much more forthcoming, and frank in their testimony than that given by the usual firefighters, where they seem loath to mention any details, or implicate any names, lest the get forced into some sort of trap. Perhaps it was because both Mallery and O'Malley were outside the strict planning confines guiding those who played more central roles inside the towers for those 102 minutes.

It's not as if these two don't also spout the same across-the-board bromides and disseminated talking points as are found in almost every single firemen transcript. But the two remain unguarded in their speech; not fearing that they'll give something or someone away---together they mention the names of an additional 23 firemen with whom they interacted that day. Men who don't give official testimony for the record, but who can be placed at the scene by a single mention of their names in the testimony of others.

So I'll stop beating around the bush and let O'Malley go first, starting at a point sometime after the South Tower had fallen:

"I went upstairs to my locker. I changed into my work duty uniform, came back down, collected up these three or four probies and made up a BF4 with their names, explained to them how we were going to be operating. I put on my helmet. I directed them to each put on each of their helmets. Take a look at me, take a look at each other. I said if we get masks, we are going to be putting them on. You are not going to recognize one another. We are going to stay together. We are going to go over as a team, we are going to operate as a team."

"The pile out in front of the fire house, which began actually inside the front door, was so high that I actually climbed out a window in the house watch rather than try to make my way out the pile into the street...When I went out the window of the house watch, there was absolute silence.

"I have since seen video tapes of the north side up towards Chambers Street, with the pass alarm, firemen stumbling around. By Liberty Street and Greenwich Street there wasn't a single sound. There wasn't a creature moving, there was no pass alarms, there was no sirens, there was no yelling for help. There was no one in the street. It was absolutely dead silence.

"We made our way directly across the street from the fire house, the address is 130 Liberty Street. Prior to -- there had been like a public space, like a second floor garden area that came from the second floor mezzanine of 130 Liberty Street. It had a foot bridge that extended across Liberty Street and went into the plaza of the World Trade Center complex. It went through like 4 World Trade Center. It actually exited between number 2 and number 4, from 130 Liberty Street across the street and also in between building two and building 4.

"Underneath that there was a wide entranceway with a fountain and a wide sweeping steps that led up to the public space. If it was a fire building we would be looking at the corner of where exposure one and exposure two came together, inside what had been a cafe or like a coffee shop for the building employees. I found Lieutenant Keith Ruby, who was lying on the floor underneath what had been like a counter rail where you could stand up and eat your coffee and donuts."

"His head was facing towards the Trade Center. His feet were pointing away. He was in a great deal of pain, although he wasn't badly buried, it was just light debris. He was lucid and not -- from the look of him, he didn't look that bad, but he was in a great deal of pain and he pointed to the middle of his right leg and said that he had a great deal of pain there. He felt that he had surely broke it. He said he heard it snap.

"So I suspected that to be a mid shaft femur fracture. I applied traction. Just followed the protocols for that sort of an injury, but I also knew that was -- he was in pretty deep trouble, owing to where he was. I sent this proby I mentioned earlier back to the fire house and I told him to raid that ambulance and to come back with oxygen and a backboard if he could, and apparently he had some EMS training, because he had the wherewithal to bring back a traction splint, so we were able to properly traction splint and package this Lieutenant as well as supply him with some oxygen therapy right away.

"But still in all it took us a fair amount of time to do that. I had two or three other probies working with me and I believe a police officer came over to help as well. Captain Mallery came out and Captain Kelty -- he was yelling over to me. I could still hear him directing civilians away from the area.

"While we were doing that we heard small explosions, rumblings, which sounded like additional collapses. When one of those would happen some of the people that were helping us, would run for positions of cover, but I was holding traction so I had to stay with the patient and the probationary Firefighter Dino, whatever his name was. Maintaining traction on the Lieutenant's head and supplying with the oxygen. He stayed his ground as well."

"That happened 3 or 4 times during the course of our trying to get them out of there. Then we heard jets overhead and we were concerned that there was another plane coming in to attack us. We just about finished packaging him when we heard that same roaring rumble that preceded the first collapse and the probationary Firefighter at the Lieutenant's head leaned down over him and covered him with his body over the Lieutenant's head and chest and I leaned down from the other end and covered the remainder of him as best as I could with my body and we just crossed our fingers and waited for the other collapse.

"Again the shock wave that came through and the cloud of dust and some more lightweight debris had fallen on us, but we were just very fortunate that we happened to be inside the building itself, because the two story balcony that had been a garden, the following morning when I came out, which was extended from exposure one towards Liberty Street from the front of 130 Liberty Street out toward the street, it was probably 200 feet long and about 40 feet wide. The following morning when I went back, that had collapsed down to within 5 or 6 feet of where we were."

"By the time we had finished packaging the Lieutenant, we knew it was time to just get him out of there. I had, as I said, this probationary fireman, I think he said his name was Vinnie. He was from Ladder 5, probationary firefighter Dino from the academy, Firefighter Kerry Horgan from Ladder 10, Captain Mallery, Captain Kelty from Ladder 10 and myself, we started moving this Lieutenant south on Greenwich Street towards Battery Park. We could see flashing lights and we thought there might be an ambulance down there."

snip

"At that point firefighters operating on the west side of West Street yelled to me that the scaffolding surrounding 90 West Street was shaking. So I dropped the line where I was and ran across to the other side of the street."

First we can dispense with the obvious lies O'Malley was mandated to detail in any account he was to give. As to the amount of debris that he confronted in the street, it's silly for him to say he climbed out a window rather than walking out one of the open apparatus doors. If he didn't specify that he left out of the backdoor, on Cedar Street near the corner with Greenwich Street, then he was likely to face similar debris along the whole stretch on his corner, and regardless of what piles he may have confronted at windows of doors, the debris didn't stop anybody from making "our way directly across the street," to the Deutsch building.

O'Malley is careful to parse the tense he means to indicate in the following line, but I think the transcriptionist is also careful to note his meaning when he makes a pregnant pause---by using the dash:

"Prior to -- there had been like a public space, like a second floor garden area that came from the second floor mezzanine of 130 Liberty Street. It had a foot bridge that extended across Liberty Street and went into the plaza of the World Trade Center complex."

He doesn't say one way or another if the second-floor mezzanine was destroyed by the first tower's collapse, and he follows that up by using more vague language. But the fact of the matter is---he entered into a retail food establishment in the base of Deutsch's headquarters, most likely fronting onto Liberty Street:

"Underneath that there was a wide entranceway with a fountain and a wide sweeping steps that led up to the public space. If it was a fire building we would be looking at the corner of where exposure one and exposure two came together, inside what had been a cafe or like a coffee shop for the building employees. I found Lieutenant Keith Ruby, who was lying on the floor underneath what had been like a counter rail where you could stand up and eat your coffee and donuts."

O'Malley then uses the trade center to reference his position, saying "[h]is head was facing towards the Trade Center." which would indicate an open vista in that direction. After escaping down Greenwich Street, O'Malley has moved around to West Street, where he says,

"At that point firefighters operating on the west side of West Street yelled to me that the scaffolding surrounding 90 West Street was shaking. So I dropped the line where I was and ran across to the other side of the street."

which clearly indicates that the scaffolding around 90 West Street hadn't been knocked down by the first collapse, and maybe even by the second. This means that the scene had to be art directed later on to appear as it does in the images we see, and that the great piles of structural steel we see lined up against buildings down the length of Liberty Street is a complete and total Photo-shop manipulation.

Sean O'Malley's most grammatically clear-cut statement concerning the timing of the collapse of Deutsch Bank Building's balcony is the following

"Again the shock wave that came through and the cloud of dust and some more lightweight debris had fallen on us, but we were just very fortunate that we happened to be inside the building itself, because the two story balcony that had been a garden, the following morning when I came out, which was extended from exposure one towards Liberty Street from the front of 130 Liberty Street out towards the street, it was probably 200 feet long and about 40 feet wide. The following morning when I went back, that had collapsed down to within 5 or 6 feet of where we were."

It seems to be clear that while he was present, during, and the following aftermath of two collapsing towers, that O'Malley hadn't experienced the collapse of this pretty major major feature, at least until he returned to ground zero the next day. That says to me it was deliberately destroyed [pulled] late at night, under cover of darkness.


This might make for thin evidence if not for a backup testimony provided by Paul Mallery:

"I said it sounds just like this, this is exactly what it sounds like, here's another one, thinking it was a third plane. Meanwhile the sound to me was four distinct events. They all sounded the same. The two plane crashes and the two collapses, except the collapses lasted longer."

"Then I hear help help. Lo and behold, it's in the coffee shop of the Banker's Trust. I make my way over there, up and over all this debris and it was the lighter debris of the Trade Center, the aluminum fascia and a lot of paperwork and a lot of stuff...[t]hen tower one collapses. That was the fourth event in the sound department. The sound was the same thing again. Sounded like a plane to me. Sounded like another plane, but it was the collapse of the tower one, which geographically is further away from us, so we said well, we couldn't run anywhere, because there was debris all over the street."

"[W]e go across the street through the Cedar Way, which is the middle of Bankers Trust. I see a guy named Paul at Bankers Trust, building engineer guy, how you doing. He said, 'We evacuated on the first plane crash.' He said, 'All I got is five essential personnel. They are on the 7th floor by the machinery'...We go through Cedar Way, come out on Washington, right by the Amish market. There we see heavy duty red steel. This is the Trade Center. We said, 'Holy shit, this is - ' We only saw the light stuff on Greenwich. Washington had the heavy stuff. We were like this is it. The fucking thing came down.

Likewise, the following reference from a once estimable FireEngineering.com magazine puts the lie to any possible rational for there not to have been an immediate evacuation of the South Tower following the explosion in the North Tower.

"During the early stages of the WTC attack, a full building evacuation was taking place at 37-story Deutsche Bank (130 Liberty Street), directly across the street from the South Tower. The building sustained heavy collateral damage from falling debris. A large section of the WTC tubular exterior wall had pierced through nine floors, and the spearing section was hanging precariously over the street for the first few weeks of the incident." 'WTC: Actions of Fire Safety Directors and Fire Warden Teams,' FireEngineering.com, Nov 1, 2002, by Jack J. Murphy Jr.,

It is clear that in the final report FEMA 403 -- Chapter 6 that it was the first collapse of the nearer by South Tower that caused the balcony extension to collapse below the street level.

"Debris from WTC2 fell along the north side of the building. This debris completely crushed the single-story extension of the building, north of line 8, and collapsed it into the basement in this area. A column section from WTC2 was embedded in the north edge of the floor slab of the 29th floor. It also appears that one section, or perhaps several sections, of exterior column trees from the south wall of WTC2 plunged through the north wall of the building above the 23rd floor."

Yet not a single firefighter, has to my knowledge, publicly acknowledged this startling fact in their local reality--if only as a possible hazard to navigation in the neighborhood.

At this point I'd like to dispose of a "loose thread" consisting of Fireman John Schroeder. Schroeder has become something of a celebrity in truth circles; picked up by "Victim Family Member" Manny Badillo; engaged in faux dialectics with JREF Gravy Truther Mark Roberts; and with any number of YouTube videos available online. Do I sound jealous? Your damned straight I am.

What all of his conversations with his straw-men interlocutors simply overlook is one small fact: John Schroeder is one of the few plot participants with a demonstrably provable foreknowledge on 9/11, and he revealed it coming out of the gate. Here's Fireman Mike Cancel of Ladder 10 tarring the dirty dog for eternity:

"Ladder 10/Engine 10 are located on the south side of Liberty Street across from Tower 2. Before the 1993 bombing, we would respond 15-20 times a day to the World Trade Center. After the bombing it dropped to four or five runs a day. Each building has an individual fire command station. I was working 24 hours. I went upstairs to wash up. I heard a boom. It sounded like a steel plate shifting in the street. John Schroeder yelled out that a plane just went into the World Trade Center." FF Mike Cancel - Ladder 10, in an interview with Firehouse.com magazine

Backing him up, if not with the use of his proper nouns, is Firefighter John Moribito, also of 10 House:

"When I finished my sentence, the house watchman ran in, and he apparently was very very startled. He was very afraid, and he was yelling that a plane had just hit the trade center. A plane just hit the trade center. He repeated it twice. We all jumped up from the table, we ran up to the front of our quarters out to the apparatus door...We couldn't tell at that point which building was involved with the crash, which one was on fire, but we could see smoke, and we could see debris falling from the building." Task Force Transcript: Firefighter John Moribito, of Ladder Company 10

I'll never known exactly what Schroeder could really see on 9/11 from his spot on Liberty Street, since the trade towers no longer exist, so how can I prove I'm right? Easy:

"I was standing outside the quarters about to go home when the first plane hit. I heard a loud noise and then all of a sudden an explosion, looked up. I couldn't even tell really which tower was hit. There was debris flying. There was a lot of smoke and fire. I ran back inside, let everybody know we knew there was an explosion...We pulled out of quarters, we made a left and went towards West Street. We stopped on Liberty Street at first to see if we could see which tower exactly was hit. That's when we determined it was the northern most tower." Firefighter Terence Rivera

This reminds me...have I said anything nice recently? If not, I'll take the opportunity to introduce you to my personal dream team of hot first responders, taken right off the Ladder 10 roster and the Engine 10 roster. Shout it out Clean Fourteen!! I'm a sugar daddy sweet enough for all of you! Everything will be forgiven!

FF Mark Dulski

FF Patrick O'Donnell

FF Frank Noto

FF Bob Buckley

FF Rob Favata

FF John Moore

FF Steve Maxwell

FF Nick Castellano

FF Aaron Burns

FF Vinny Fennimore

FF Sal Cotrona

FF Jimmy Kasyjanski

FF Kyle Rowe

FF Ernie Acosta

Rivera, Terence

"...there were a few individuals that were civilians that were outside that were burnt. There was a -- he wasn't a regular security guard. He had a weapon on him. I don't know if he was FBI or Secret Service and he was trying to put the pants out on one individual that was conscious...At that time, I had asked him where did this individual come from. He told me when the plane had hit, a fire ball had shot down the elevator shaft and had blown people out of the lobby."

"Sometime while we were doing that, that same individual that was -- when we first got there, that was trying to put the pants out, he came over and he is saying to us that it's a terrorist attack. You guys are too close. It's a terrorist attack. So once we got hooked up, I kept that in the back of my mind...Then I went -- that same individual, the security or -- he told me to go over to the command post and let them know it's a terrorist attack. There are more planes in the air. So I went across the street where they were starting to set up. I told them. They said we know."

"So I went to go back to go find 10 Engine chauffeur to tell him let's go down here. This is where they are staging, and he didn't want to leave the rig. He said, I got to stay by the rig. Just get me some water. So I got him some water and sometime when I was getting the -- put in the back or getting out, that's when the second plane hit."
Q. Okay, I have some questions. When you first responded, do you know who the truck officer was?
A. Lieutenant Harrell, he was the company officer.
Q. He is okay?
A. No. Dead, both officers.
Q. Yes, I know, Lieutenant Atlas.




"We had food, we had -- Tony Konczynski got a hand line and back fed the quarters to feed water into quarters. He had a flushing toilet. I venture to say we had the only flushing toilet south of Chambers Street for the first two days. It was incredible. People that were here know what was here and people that weren't here wouldn't believe it anyway, so why bother telling them. Captain Paul Mallery

Kelty Jr., Eugene (pdf file) "Company Commander" for Eng. 10
"After pretty much the towers came down and there was some sense of no more collapse happening, Engine 10's quarters started to get used as a triage station and a general focal point. Throughout the whole time Engine 10's quarters emergency generator was working we had some type of lighting system and some type of electricity. That's why they used it as a focal point. Throughout the whole time Engine 10's quarters emergency generator was working we had some type of lighting system and some type of electricity. That's why they used it as a focal point. The EMS people were in there, they were triaging a lot of people."

Art Insurance Fraud at the World Trade Center on September 11th, 2001

May 7, 1967, New York Times, Art Notes: A Colossus With Class, by Grace Glueck,

May 13, 1968, New York Times, "Ex-Stadium Vendor Is Giving a Rodin to Museum," by Milton Esterow,

May 7, 1970, New York Times, "Trade Center to Get Huge Sculpture," by John Canady,

July 19, 1977, New York Times, "A 200-ton granite sculpture by a Japanese artist..."

April 29, 1979 New York Times, "70 Works of Art Have Vanished From Port Authority in a Decade," by Ralph Blumenthal,

June 16, 1979, New York Times, "A Calder Stabile Makes a Move,"

May 4, 1989, New York Times, "A 'Love Affair' With Rodin That's Worth Celebrating," by Georgia Dullea,

January 24, 1999, SFGate.com, "Giving Everything They've Got: Keeper of the Rodin-Inspired Flame," by Edward Guthmann,

2000, Gelitin, The B-Thing, World Trade Center, New York, USA

February 28, 2001 [archive.org] Sculpture Magazine, "Elyn Zimmerman discusses stone in public art, her fascination with stone as a material, and her working relationship with a Minnesota quarry," Cached,

August 18, 2001, New York Times, "Balcony Scene (Or Unseen) Atop the World; Episode at Trade Center Assumes Mythic Qualities," by Shaila K. Dewan,

September 15, 2001, Star Tribune (Minneapolis, MN), "The Victims; Trade Center bond firm is hit hard; 700 workers perished in Cantor's lofty headquarters," by Greg Gordon, Cached,

September 17, 2001, New York Times, "Arts Groups at a Tragedy's Center Try to Assess Where to Begin," by Peter Marks and Carol Vogel,

September 21, 2001, The Guardian, "Rodin treasures destroyed with 'museum in the sky," by Maev Kennedy,

September 23, 2001, The Mail on Sunday (London, England) "Legal nightmare over terror bills; Vital insurance deals on twin towers were incomplete," by Lisa Buckingham, Cached,

September 24, 2001, The Art Newspaper, "The smoke and the risk," by David A'rcy,

September 24, 2001, Telegraph - Herald (Dubuque) "Millions of dollars in art lost in rubble; History destroyed: It is not yet known if any of the works are salvageable," The Associated Press,

September 27, 2001, USAToday.com, "Fine Art Worth $100M Lies Under WTC Rubble," by Noelle Knox, Reposted at Rense, [Text of article missing online.]

The USAToday article above, by Noelle Knox, can be found only in a reposting at Rense.com. After cross-checking, I found it shared ten paragraphs of text with the following article by Katherine Roth in the Chicago-Sun Times, accessed at Highbeam research. For my analysis of the fascinating differences and similarities between the two articles, go to Google Docs

September 30, 2001, Chicago-Sun Times, "$100 million in fine art gone; Dozens of works by Calder, Rodin and others lost in World Trade Center destruction," by Katherine Roth, Cached,

October 4, 2001, Australasian Business Intelligence/ The Australian Financial Review, "Vast collection of art works destroyed in attacks," by Robert Bolton, Cached,

October 5, 2001, BBC News, "Up to $100m art lost in attacks,"

October 07, 2001, The (Irish) Post, "Museum in the dust," by Margaret E Ward,

October 13, 2001, Knight Ridder/Tribune Business News / Financial Mail, London, "Collecting Column," by Lorne Spicer,

October 14, 2001, The Mail on Sunday (London, England) , "Lost for ever, works that art became symbols of success," by Lorne Spicer, Cached,

October 16, 2001, NPR, "Lost Art: Hundreds of Works Were Destroyed in the Trade Center Attack,"

October 16, 2001, NPR Morning Edition, "Profile: Important pieces of art lost at the World Trade Center," by Bob Edwards, Cached,

October 17, 2001, The (New Zealand) Press, "Payout after attacks," by Christopher Moore, Cached,

October 18, 2001, The Record (Bergen County, NJ) "Bronze Sphere is a Ray of Hope Amid the Ruins, by Mike Kelly,

October 21, 2001, NPR, "Found Art: Parts of Calder Sculpture Retrieved from Trade Center,"

October 21, 2001, New York Times, "At Landfill, Tons of Debris, Slivers of Solace," by Dan Barry and Amy Waldman,

November 2001, Art News, "Aftershocks: From death and displacement to questioning the role of artists and museums in the face of devastation to the loss of $100 million worth of art—the repercussions continue," by Kelly Devine Thomas,

November 1, 2001, Art Business News, "Twin Towers disaster affects NY art world," by Julie Mehta, Cached,

November 19, 2001, Business Insurance, "Loss picture bleak for WTC art," By Sara Martin, Cached,

November 19, 2001, Crain's New York Business, "WTC art losses $100 million; Insurers estimating worth of lost public, private works; await the filing of claims," by Sara Martin,

December 3, 2001, New York Times, Art Review; "The Studios Were Lost, But the Artists Get Their Day," by Holland Cotter,

December 10, 2001, New York Magazine, "Howard Lutnick's Second Life," by Meryl Gordon,

December 12, 2001, Los Angeles Times, "Art Bent but Not Broken: Should Alexander Calder's once-imposing sculpture, reduced to twisted metal on Sept. 11, be rebuilt or left as is? by Karen Kaplan,

[The same Kaplan article, with various edits, and slightly different emphases, reprinted by the LAT 21 days later.]

Jan. 3, 2002, Los Angeles Times, "Sculpture crushed on Sept. 11 takes on new symbolism," by Karen Kaplan

January 15, 2002, New York Times, "At Landfill, Buckets Full Of Memories," by Tina Kelly,

January 15, 2002, The Boston Globe, "They Sift Tons to ID the Lost of Sept. 11 Those on Site See This, Too, as Sacred," by Fred Kaplan, Globe Staff, Cached,

January 25, 2002, Photos of the Fresh Kills Landfill taken by Cryptome, Cached,

January 28, 2002, Newsweek International, "Letter From America.(touring Fresh Kills landfill in Staten Island where World Trade Center debris is being moved,)" By Julie Scelfo, Cached,

February 28, 2002, IFAR.org, "The Art Lost by Citigroup on 9/11," by Suzanne F. W. Lemakis, Cached,

February 28, 2002, IFAR.org, "September 11th: Art Loss, Damage, and Repercussions," Public Art at the World Trade Center by Saul Wenegrat,

February 28, 2002, IFAR.org, "The Response from the Insurance Industry," by Dietrich von Frank,

February 28, 2002, IFAR.org, "The World Trade Center Memorial, 1993," by Elyn Zimmerman,

February 28, 2002, IFAR.org, "Art Damaged on 9/11: The Insurance Adjuster's Role," by Gregory J. Smith,

February 28, 2002, IFAR.org, "The Heritage Emergency National Task Force," by Lawrence L. Reger,

February 28, 2002, IFAR.org, "The Artist Residency Program in the Twin Towers," by Moukhtar Kocache,

February 28, 2002, IFAR.org, "The Downtown Institutional Impact," by John Haworth,

March 9, 2002, The Scotsman, "Picking up the pieces," by Rhiannon Batten, Cached,

May 11, 2002, New York Post, "WTC Art Plunder Eyed," by Philip Messing, Reposted at www.museum-security.org, Cached,

May 20, 2002, Associated Press, "Missing from World Trade Center rubble: a Rodin masterpiece, 'The Thinker,'" by Tom Hays, Cached,

May 20, 2002, New York Times, "Born of Hell, Lost After Inferno; Rodin Work From Trade Center Survived, and Vanished,"

May 21, 2002, ABC News, "Rodin sculpture recovered from World Trade Centre disappears,"

May 21, 2002, The Guardian, "Ashcroft drawn into row over September 11,"

May 24, 2002, The Vigilance Voice Blog, "The Thinker... Symbol of Vigilance," by Cliff McKenzie,

June 3, 2002, Heritage Preservation, "Heritage Preservation Publishes First Comprehensive Study of Loss to Nation's Cultural Heritage as a Result of 9/11," Report of Losses to Artistic, Historic and Archival Heritage in Lower Manhattan and at the Pentagon, Includes Results of Survey of Affected Institutions Regarding Emergency Response Procedures,

June 4, 2002, Associated Press / The (Bergen County, NJ) Record, "Sept. 11 cultural losses tallied," by Alpert I. Lukas, Cached,

June 4, 2002, AP Online, "Report Details Artifacts Lost 9-11," by Alpert I. Lukas, Associated Press Writer,

September 2002, Art in America, "WTC sculpture: lost or destroyed?" by Janet Koplos,

September 5, 2002, United Press International, "Sept. 11: Art Destroyed, Created in NYC," by Frederick W. Winship, Cached,

September 7, 2002, National Post, "Out of this has come a community," by Theresa Tedesco, (Financial Post), Cached,

September 8, 2002, Sunday Mail (Glasgow, Scotland), "Witness: September 11 tribute Remains of a day of devastation; The world's fifth and sixth tallest buildings were crushed into 1.6 million tons of smoking concrete and steel, a tomb for 2801 innocent victims. The statistics compiled during the painstaking recovery operation tell their own horrific story," Cached,

September 8, 2002, New York Post, Cantor Fitzgerald Regains Its Grip," Cached,

September 10, 2002, New York Times, "From Devastation to Determination," by Diana B. Henriques,

November 2002, Library of Congress Information Bulletin, "Lives and Treasures Taken: 9/11 Attacks Destroy Cultural and Historical Artifacts," by Donna Urschel,

January 1, 2003, NFPA Journal [National Fire Protection Association,] "Lost art," by Bill Flynn, Cached,

Feb. 6, 2003, Associated Press, "9/11 Book Follows Hard-Hit Firm: Cantor Fitzgerald Lost 658 Workers In Terror Attack," by Bootie Cosgrove-Mather,

February 16, 2003, Scotland on Sunday, "When great works of art become casualties of war," by Gale Iain, Cached,

April 28, 2003, The Record (Bergen County, NJ) "The price of lost art-- PA nears settlement for pieces destroyed on 9/11," by Pat R. Gilbert,

August 2, 2003, The Washington Times, "Works lost, not forgotten; 'Missing Masterpieces' tells stories of 24 of them," by Kevin Chaffee, Cached,

September 5, 2003, Cleveland Jewish News, "Haunting display details recovery at Ground Zero," by Marilyn H. Karfeld, Cached,

September 11, 2003, Asbury Park Press/ Knight Ridder/ Tribune, "New York Financial Firm Cantor Fitzgerald Rebuilds from Sept. 11, 2001, Loss," by Michael L. Diamond, Cached,

October 31, 2003, "Aanslagen Amerika 11 september: Foto's van het puin," Cache

January 27, 2004, AP Worldstream, "Traveling exhibit takes one man's love to the people," by Kurt Kelly, Associated Press Writer, Cached,

February 27, 2004, Wired Thread, "Lost World Trade Center Art,"

March 16, 2004, Buffalo News, "Rendezvous with Rodin: After Laying the Groundwork 15 Years Ago, a Curator Helps Turn 'A Magnificent Obsession' Into a Reality." by Tom Buckham, Cached,

March 22, 2004, National Underwriter Property & Casualty-Risk & Benefits Management, "WTC fine art losses undervalued," by Caroline McDonald,

January 29, 2006, Hartford Courant, "Rodin Chaser Has His Say, Critic Claims Works Cast After Death Are Not Originals," by Matthew Erikson,

August 24, 2006, Bloomberg, "Hirst Shark, Katrina Claims, Klimt: Axa Art Insurance's Guntram," Interview by Linda Sandler,

March 24, 2007, New York Times, "Landfill Has 9/11 Remains, Medical Examiner Wrote," by Anemona Hartocollis,

September 12, 2007, Associated Content, "Art and History Lost in the 9/11 Attacks," by Elliot Feldman,

February 24, 2008, garyarseneau.blogspot.com, "Rodin: In His Own Words FRAUD, the Iris & B. Gerald Cantor Foundation's touring road show of 29 non-disclosed FAKES,"

June 24, 2009, New York State Museum Press Release, "NYS Museum Announces Second World Trade Center Exhibit in France," by Joanne Guilmette,

April 25, 2010, Sunday Gazette-Mail, "A place open to beauty: Rodin sculpture trove anchors North Carolina Museum of Arts new building," by Andrea Weigl, Cached,

November 25, 2010, Dayton in Manhattan.blogspot, "The World Trade Center Survivor -- Fritz Koenig's "The Sphere,"

January 20, 2011, Comparison of the Katherine Roth and Noelle Knox articles, in USAToday and Chicago-Sun Times, dated Sept. 30 and Sept. 27, concerning art losses on 9/11 at the WTC, by StevenWarRan,

(No Date,) Recovery: The World Trade Center Recovery Operation at Fresh Kills, NY State Museum, S.U.N.Y. Education Department, File Format: PDF/Adobe Acrobat - Quick View

MOMA Collection of Rodins,

History of the Iris & B. Gerald Cantor Collection

No Date, Wikipedia,Lost Artworks, Works destroyed in the September 11, 2001 attacks,

New York Magazine: What Are Your Chances Of Surviving a High-Rise Fire?

May 27, 1974
"What Are Your Chances Of Surviving a High-Rise Fire?" by Bryna Yaubman,

"Fire Commissioner O'Hagan says he does not like to think about what would happen if a plane crashed into the World Trade Center." page 65

Link
It wasn't hard at all for me to embed a link into this blog page, which keeps open a view of the illustration that accompanies the article---scanned from page 66 of a vintage New York Magazine and then uploaded to GoogleBooks by somebody else. My first sight of this picture was a startling experience, and I wanted you to have the same effect if possible.  Knowing what we now know, as Donald Rumsfeld would say, we can appreciate the artist's imagination in having foreseen what O'Hagan was only willing to dread: that the World Trade Center was intentionally designed with just this spectacular purpose in mind; their sacrificial demise a foregone conclusion for Mr. Rockefeller and his buddies. These were edifices reverse-engineered for a ritualistic destruction; meant to serve as gigantic symbols of a national wounding or loss, while they also were secretly aiming to be the ultimate in false-flag manipulations. But at least one savvy contemporaneous Jewish magazine editor or writer back then was able to portend all of this inhuman meaning. Call this prophecy if you will, because it definitely feels like a higher intelligence is at work.

Getting on with an interpretation of the 'pataphysical results, read some of the copy:

"Every death in New York City high-rise fires has been elevator-related. Elevators, it cannot be too strongly stressed, are death traps during a fire. Use the stairs. They are fire safe. If the smoke is too heavy in the stairwells, stay where you are until you get instructions. In fact, unless the fire is on your floor stay where you are until someone in authority tells you to leave. Evacuation doesn't make sense in a 110-story building that has more inhabitants than some cities. It can take over an hour to evacuate a 50-story building the World Trade Center would probably take three hours, providing, of course, that no one panicked."

"The professionals recommend that you get off the fire floor and move three stories or so below the original fire. That leaves the floor immediately below the fire for the firemen, and the one below that for evacuees from other floors. In a fire, the danger is greatest above the fire---remember the stack effect. Get below the fire first, then find out what to do."

"These must connect to a fire-alarm system that triggers elevators to go to the lobby, opens dampers in a smoke shaft to pull smoke-filled air out of the building, and rings alarms at a fire-command desk in the lobby and in the nearest firehouse. The fire desk is manned by a fire safety director, who is tested by the fire department for general fire techniques and specific knowledge of the building. The desk has two-way communication with each floor and public address systems that reach offices, halls, elevators, and stairwells. The fire director is responsible for conducting fire drills every few months. He is also responsible for keeping all the equipment in working order."

"There are some buildings in New York City, including the tallest---the World Trade Towers---which do not have to meet the requirements of the city building code. Because they are owned by governments that legally ignore the city laws. In theory, they can even refuse city police and firemen access to their territory. None, of course, do so."

"The World Trade Center, for example, has used the city code as a basis for its own fire safety program. It has a fire safety director who had written a twelve-page booklet explaining emergency procedures for tenants. There are regular fire drills and special badges for floor fire wardens."

"Like other high rises, the World Trade Center has two-way communication between each floor and the fire command station. Unlike other high rises, the World Trade Center also has its own police force---The Port Authority Police---who have special training for fire emergencies. When an emergency occurs, the alarms near elevators can be activated to ring at the fire-police desk in the sub-basement. At a huge console, the officer on duty can open two-way communication with the emergency floor or any other floor, or all floors. He also has a direct line to the fire department dispatcher, and in a few months, the World Trade Center alarms will automatically be passed to the dispatcher if the alarm is not answered within seconds at the police desk."

"In addition to these precautions, the World Trade Center holds special training sessions for tenants to teach them how to cope with a fire emergency without panic. Emergency procedures are outlined, including detailed instructions for evacuation from the buildings and the use of firefighting equipment provided at all stairwells. The booklet and the training sessions also explain evacuation procedures---the first floor first, then the floor above. Although the construction and size of the building may give firemen the jitters, the managers of the buildings are carefully following recommended procedures to reduce the dangers."

Now take a look at this 2:49 minute YouTube video, "Port Authority WTC Back in Business 1993," especially at the 1:14 mark, when we're told that "all standpipe fire hoses are operational," as we see the high-pressure assemblages that are located throughout WTC stairwells, with 125-feet of attached hose. I can find no references in any of the record of civilian , speaking of any ability by the average worker to have fought back in the towers, take matters into their own hands if  it suited them when it suited them, for a different outcome for the victims, and that's called manipulating the facts.



There is a growing choice to be made everyday between what is moral and just  high-ground of a just we can claim as s birthright. and the substandard and disordered reality  of a  moral of a daynd ordery  every-day reality of most people who lay claim to the moral they are moral and desirable in personal experience in reality ordered, moral reality  second-hand, and second-class, reality people are fed in the media narrative around 9/11, with the more honest and treaty we once were fed, to mispercieve as if divined, has become more pronounced recently, adding on an obviousness in the insurance and banking debacles, with our government's penchant for privledged wars of aggression, so it's unlikely we'll ever share any common innocence again.

I'm leaving that paragraph exactly as I wrote it. You try saying it any better.

Look at "Chief Joseph Pfiefer's interview in Firehouse Magazine from September, 2002,

Firehouse: Did you formulate any type of plan?
Pfiefer: The game plan was to pair up the engines and to only take half the amount of hose.

Why would even some firemen carry thirty pounds of hose up the stairs, since it had already been determined only a rescue operation would be undertaken, without attempting a fire suppression?

"We made a conscious decision early on that we weren't going to try and put the fire out, for a number of reasons. One, there was too much volume of fire. Second, the building systems were probably not functional. We had too many distress calls coming in. We didn't think the standpipe system was even going to be intact up there. We had to forgo the whole idea of trying to put any fire suppression efforts in there. This was strictly a search and rescue operation. Hayden Firehouse.com Interview

"I specifically remember telling Commissioner Von Essen that we were not attempting to extinguish this fire. It's just strictly a search and rescue operation. We were not trying to put this fire out. We had thousands of people coming down the stairs, and that was our focus, to answer as many distress calls as we could and complete whatever searches we could. That was the focus of our strategy there at the time." Deputy Chief Hayden WTC Task Force Interview Transcript

And especially since hoses was already up there? It's not as if Pfiefer was an amateur:

Firehouse:On average, how many times would you go to the Trade Center in a week or month?

Pfiefer: It's a complex of buildings, so maybe about 15, 17 times a month.

Firehouse:How many years have you worked down here?

Pfiefer:Five.

The "special training sessions" with "detailed instructions for evacuation from the buildings and the use of firefighting equipment provided at all stairwells," given civilians in 1974, became this afterthought summary in the 9/11 Commission report in 2004:

"Emergency response is a product of preparedness. The Port Authority also sought to prepare civilians better for future emergencies. Deputy fire safety directors conducted fire drills at least twice a year, with advance notice to tenants. But during these drills, civilians were not directed into the stairwells, or provided with information about their configuration and about the existence of transfer hallways and smoke doors. Neither full nor partial evacuation drills were held. In general, civilians were never told not to evacuate up. Civilians were not informed that rooftop evacuations were not part of the evacuation plan, or that doors to the roof were kept locked."

But special governmental status for the trade center's employees was still being bandied about in a 1997 article in Security Solutions, which stated

"the Port Authority and WTC are unique because they have their own police force and emergency response personnel, who serve as an in-house fire brigade. The fire brigade has pre-positioned crash carts with Scott air packs and fire fighting equipment so they can begin fire suppression activities even before the fire department arrives."

With no mention made of such effort being part of the heroic story of that passive day. All they could summarize was this in the 9/11 Commission report

"A principal factor limiting the loss of life was that the buildings were one-third to one-half occupied at the time of the attacks."

Robert Segal & Masayuki Nagare

The photographer and the artist. Segal, the shutterbug, has an image gallery posted online at the semi-professional web hosting service photo.net, called simply Robert Segal Photography. It contains only a single portfolio, named "WTC Ground Zero, 9/14 - 9/16/2001," which holds 92 extraordinary images---that we are to believe were authored then and there by him.

archive.org dates sightings of this page from Dec. 24, 2002 through Jan. 01, 2008. The photo.net community member page for Robert Segal says "This page has been visited 1323 times since January 05, 2006," and I can't imagine why they'd say that if it wasn't when Segal uploaded his images to the web.

I say all this because, as 9/11 research materials go, these important images are in a league all of their own. They are new to me, an inveterate web surfer in related searches---although this may only be due to my defining as "rare" anything I've never seen before. However, to my knowledge, no other of the thousands of committed researchers who profess to seek the truth of the attacks of 9/11 has noted, commented upon, or referenced these images.

Segal's photo.net member page lists a personal home page that contains a possible clue within the web address as to his background: http://members.bellatlantic.net, however that link is dead. But the indispensable archive.org maintains copies of the page, which he dates as October 2, 2001, with only minimal updates twice thereafter---in March and June of 2002. This is all in keeping with the standard efforts made by the army of supporters who created the official 9/11 narrative. At archive.org is evidence his personal web page was up online from Dec. 11, 2004 through May 27, 2007.

Trying to establish Segal's background and credibility is pretty straightforward, if the intent, and effect, of his photo efforts may not be so clear. His web page came in consequence to 9/11 he tells us, and it transparently has a link to his resume: R-Segal-Resume.pdf

He is a highly educated IT specialist, beginning with time spent at the Naval Nuclear Power/Electronics School. From 1997 through 1999, he single-handedly created the electronic "mission-critical display of precious metals and energy markets," for the New York Mercantile Exchange, housed in Building 4 of the World Trade Center. He brags that

"As the only qualified person in nation, became wholly responsible for Opening Day set-up at new headquarters building. Was for two years almost single-handedly and without supervision responsible."

This established an important fact for the general public's understanding---that the Mercantile Exchange was moved to the trade center sometime in the spring of 1997, at a time when the 9/11 conspiracy was in full gear, and all such lease signings, certainly from that period onward, were strategically planned with the coming false-flag attack in mind.

Although Segal had apparently moved on after May of 1999, the free range and unfettered access in his movements over the weekend following September 11th, as evidenced by the images, prove he remained centrally tapped in to the Ground Zero undertaking.

The 92 images Segal took there are unique in several regards. For one, he carefully captions what is being depicted, always giving us the cardinal directions of his point of view. He is positively cheeky, as he captures irrelevant moments at odds with the grim official story. In a fearless gesture, he even identifies himself in several of the images, apparently taken by a second pair of hands.

Notably, in several shots, Segal shows unique scenes that stand in opposition to the standard narrative. And in one important matter, which has remained oddly unaddressed since 9/11, Segal provides a pointed single-source reference, but it is one that only adds to the mystery instead of clarifying it.

This has to do with the disposition of a major work of art by Masayuki Nagare that before 9/11 stood in the Church Street entrance to the World Trade Center plaza. Named "Cloud Fortress," the black granite-clad, sculpture was of monumental size. Variously described as being either 5 tons, or 250 tons, it survived the destruction of the towers intact, but was entirely lost in the subsequent cleanup efforts. No trace of it was ever found at the Fresh Kills landfill, where all the debris was taken, supposedly to undergo examination with a fine-toothed comb.

The loss of art works in the World Trade Center disaster was a recognizable component in a planned narrative of loss and victimization rolled out in the aftermath. An article about art losses appeared as soon as September 15, when most of the focus, and all the good taste, was still concerned with human casualties. But the public relation effort was in full swing before the month was out, as dozens of newspapers began publicizing the loss of art works, which were quickly estimated as totaling $100 million.

This theme is clear evidence of an incidental sidebar of art market insurance fraud---as the attacks themselves, which consisted of a larger real estate insurance fraud, paled in comparison to the overriding macrocosm of religious vilification and intent on war. Unfortunately, the insurance industry itself was part and parcel of the corrupt deception, and this becomes clear when studying the art angle.

This is an enormous area for investigation, and I am not prepared to begin the work here. Suffice it to say that one company, Cantor Fitzgerald, was reported by scores of national and international media outlets as having lost between 350 and 450 bronze sculptures designed after Rodin, while in truth, Cantor's offices contained only four modern casts on 9/11---and even these were likely pilfered during the building's final moments by responders bent on looting the premises for valuables.

The disappearance of the surviving Nagare work during the clean-up effort following 9/11, probably wasn't an example of this kind of financial art fraud in any case, but I think it may be evidence of a different and more troubling kind of fraud---proof that the images of devastation fed to the public by the media were doctored lies, manufactured, like the so-called human loss, to pump up our sense of communal wounding, and with it, a desire for retaliation, and revenge for the atrocity.

Only one site plan illustration clearly depicts the placement of the Nagare work on the plaza in relation to the buildings and other outdoor art work, such as the much-photographed globe-shaped fountain designed by Fritz Koenig, which stood in the center of the plaza, and which survived in damaged condition. Photographs taken by FEMA officials depict the plaza area as being a Dante-esque landscape of utter destruction, with only the smoking remains of steel beams cast about.

It's interesting that the bronze Koenig fountain survived with only scratches and dents, while the massive rectangular Nagare piece, situated much further away from the towers, facing Church Street in a square made up of two short flights of steps between raised planting beds situated between Buildings Four and Five, was destroyed without a trace.

I believe this was done to visually expand the area of destruction. This necessity developed as an afterthought by those tasked with the plot's public relations, in much the same way that Ground Zero was originally referred to anecdotally as "the Pit," since so much debris fell into the sub-stories below the plaza level. Then a calculated effort went into effect in the media, whereby these same remains were suddenly known as "the Pile."

Official control of the media is an inexact science, with insiders working alongside patsies and useful idiots. However, inconvenient facts which can surface in honest journalism have been proven to be vulnerable to a methodical suppression before they can gain a toehold in the public consciousness---at least that was the case before the advent of the internet changed the rules of the game.

That the Nagare work survived the collapses of the towers was a fact that had been previously established with a photograph published in New York Magazine's October 1, 2001 issue, which showed a staged vignette of a fireman walking in front of the intact sculpture. (I believe it's the same image maintained in a pdf document prepared by Nagare's New York dealer, Jason McCoy, Inc.---since you certainly won't find it maintained online in a New York Magazine resource.)

I only know of that publishing history through a September 2002, article in Art in America, by Janet Koplos, titled, "WTC sculpture: lost or destroyed?" which tells us that

"Masayuki Nagare's large public sculpture Cloud Fortress (1975)survived the collapse of the World Trade Center but was lost in the rescue and recovery efforts. When a photograph of the smoking ruins appeared in New York magazine's Oct. 1, 2001, report on the attack, the black stone sculpture stood, intact, in the foreground. It may have been precisely its position that was fatal: the sculpture was set at the Church Street entrance to the central plaza. According to sources at Jason McCoy Gallery, which represents Nagare [see review on p. 136], as well as Mark Wagner of Voorsanger Architects, who is involved in the archiving of art fragments recovered from the site, the sculpture was bulldozed and removed, probably within the first 24 hours, to allow heavy machinery to facilitate the rescues anticipated in those early hours. No trace of it has come to light at the landfill on Staten Island or elsewhere. The sculpture seems to have endured like a fortress and then vanished like a cloud."

What Robert Segal's images and captioning add is an actual time frame for the sculpture's destruction, which came three or four days after the Tuesday collapses---and not in the immediacy of that fearful first day, as Jason McCoy, Mark Wagner or Bart Voorsanger must have sourced it for the Janet Koplos' article. Segal has no bones to pick. He was honestly, openly, and intelligently confused by the proceedings, as his caption for one picture reads "A shame this one didn't survive recovery efforts. Was this thing just too heavy to move?"

Search Team Inbound Briefing, view to southwest, 4WTC at left, tower 2 at rear.

A shame this one didn't survive recovery efforts. Was this thing just too heavy to move?

Demolishing Masayuki Nagare's Granite Sculpture, East of the Plaza, view to west, from left 4WTC,

On a recent, December 5, 2010, exchange at forum.skyscraperpage.com, on a thread called "NEW YORK | Twin Towers of the WTC | 1368/1362 feet | 110 FLOORS | 1972/1973-2001," someone named STR, posted an interesting tidbit of information about the following photograph

"The "Peace on Earth" sculpture was put up during the holiday season every year after the 1993 bombing. Presumably, the sign was stored on-site from January-November and destroyed in the collapse, but I don't have any concrete info. The mountain-like sculpture (Cloud Fortress by Masayuki Nagare) behind it did survive the collapse, but was torn down during the recovery because there was extra structural support built into the plaza in order to hold up the 5-ton steel and stone art piece, which made it a good place to site a crane."

This would make sense, since the site of the sculpture lies directly over a BMT subway hub. STR is the only source in the record for the sculpture's weighing 5 tons, which is more plausible than an alternate weight of 250 tons published elsewhere. Unfortunately for this opinion, in Segal's image showing the work while it was undergoing its destruction, apparently a crane has already assumed a position on the plaza behind it. The photograph's field of depth is distorted by a special lens, as is every other photograph taken of the events in New York City and Arlington, Virginia, and to be made public---so it appears that the sculpture sits behind Buildings 4 and 5, while the site plan makes it clear they were all in alignment.

Several other Segal images taken in the vicinity---on either Friday, Saturday or the Sunday following the Tuesday attacks---show a scene that's clean and orderly, if a bit too obvious, as stage-managed by the FBI

Aircraft Parts Bin, view to southwest, 5WTC at right, 4WTC at rear.

The Borders Bookstore in Building 5, at the corner of Church and Vesey Streets, looks like it could reopen for business without much ado.

  Resting Outside Five World Trade, View to southwest.

I might even think that the Customer Services sign inside the bookstore was art directed by a hack to hang as it does, since none of the ceiling tiles or fixtures were effected. Even the lights are working! Not bad for a building that had been consumed by fire, with giant holes crushed through it from top to bottom!

Another shot, westerly across the plaza to the American Express Building at the World Financial Center, showing the crane as positioned. The firemen even set up a formal "rest" camp in the area between Buildings 4 and 5, so it's unlikely much heavy debris was removed through this point.

              Firefighters at Camp, view to south, 4WTC at right center, top of tower 2 at left Liberty St.

Since we can't trust any of the images taken anywhere on 9/11 or thereafter, we should even doubt whether such central visual reference points as the standing tridents of structural steel from the WTC facades, which somehow managed to impound themselves in the centers of both Church Street to the north, and West Street to the south. These focal points are too obvious to be real in my opinion, and it's likely that every camera was directly hooked up to central command computers where objects like these sentinels could be inserted as seen from any vantage point. It's an awfully long distance for the remains to have traveled, only to arrive standing vertically, a feature which wasn't found anywhere closer to its source.

       Church Street at Dawn; view to southwest, from right 5WTC, 4WTC crushed, top of 2 tower impaled...

We can thank the New York Historical Society for their exhibit, "Here is New York: Remembering 9/11," where they acknowledge 790 photographers by name, whose images appeared in the exhibition, which makes for easy work by any researcher, or prospective prosecutor. I can't claim that 100 percent of the names on the list were insiders to the plot, whose work products were directly controlled by master authorities at higher levels than agency or employer, but I'd bet it's in the 98th percentile.

                  Standing Portion of Four World Trade, View to southwest, Bankers' Trust bldg. at rear.

      Shift Change at Ground Zero, View to south; from right 5WTC, 4WTC, top of 2 tower impaled into
     Church Street.

According to an article in the National Underwriter Property & Casualty-Risk & Benefits Management newsletter by Caroline McDonald, titled, "WTC fine art losses undervalued," the "World Trade Center Plaza Sculpture" by Masayuki Nagare, was valued at $1 million. Even a small 1975 maquette, or model of the "Cloud Fortress" piece, which was housed and then lost in the Port Authority's offices in Tower 1, was valued at $150,000, according to the Bergen County Record, "The price of lost art-- PA nears settlement for pieces destroyed on 9/11," by Pat R. Gilbert.

So what was the logic in destroying the art work, if the stated purpose was it obstructed an effort to bring in heavy moving equipment? Couldn't they have started with its removal without obliterating it?

Artists and their patrons take their world very seriously. Endless ink was utilized, for instance, in discussing the effort by the grandson of Alexander Calder to recover pieces of the master's damaged stabile, which stood outside Building 7. Experts had never considered it to be an important example of Calder sculpture, while the Nagare work was widely regarded as a crowning masterpiece in his oeuvre.

Much like the fundamental Christians who were chosen to serve roles in the invasion of Iraq, the people whose jobs were to attend to these important matters of art sound more like empty figureheads, chosen for attributes, like loyalty to a secret cause, instead of meaningful artistic credentials. Architect Bart Voorsanger, from the firm Voorsanger & Mills,

"was appointed to archive debris from the collapsed World Trade Centre and the objects he collected include a row of chained-up bicycles, battered fire trucks, splinters from what was once the city's tallest television antenna and the crushed shell of a train which used to run beneath the Centre."

according to a 2002 article in The Scotsman, "Picking up the pieces," by Rhiannon Batten.
Voorsanger was quoted as saying, "two weeks after the attacks, I was approached to form a small committee to save artifacts from the site." The article continued

"So while Ground Zero, as a crime site, was closed off to all but emergency workers and clearance personnel, Voorsanger's committee was granted special access. Searching for finds and marking them down on a map, the archiving team spent about eight weeks on the site.

"At first I went down to Ground Zero every day or every other day, along with other people from my office" he says. "The emergency workers were hostile to us initially - they imagined we were just scavenging.

"The reason Voorsanger, rather than a curator, was chosen to head the project was that architecture had been such a key component of the site. But although it was hoped the collected material could later be used to construct a memorial, Voorsanger was adamant that they called what they were doing archiving. "A memorial seemed to place too much emphasis on the emotional side of things," he says.

"The artifacts we found covered a whole panoply of items, from individual coffee cups to a burning steel facade. As well as forming a picture of everyday life on the site, we wanted to make sure we had a record of the materials used to build each of the towers and that we were documenting their collapse."

Since none of the steel from Building 7 was saved for study to understand why, for the first time in history, a steel-framed building had collapsed due to fires alone, Voorsanger's claim that "we wanted to make sure we had a record of the materials used to build each of the towers and that we were documenting their collapse," is patently offensive in a most amateurish way.

On June 3, 2002, well before President Bush was forced to empanel a semi-legal 9/11 Commission, an ad hoc group made this announcement: "Heritage Preservation Publishes First Comprehensive Study of Loss to Nation's Cultural Heritage as a Result of 9/11," Their comprehensive study, a 26-page report titled Cataclysm and Challenge, offered "the first" look at what was lost on 9/11. It is in keeping with established parameters, and the time frame of the United States government-organized conspiracy, we're told that the

"Heritage Preservation prepared the report on behalf of the Heritage Emergency National Task Force, a partnership of 34 federal agencies and national associations founded with the Federal Emergency Management Agency (FEMA) in 1995 to help protect museums, archives, libraries and historic sites from disasters."

The report only mentions the loss of Cloud Fortress once, in passing, when it incorrectly titles the work, saying, "Nagare’s black granite World Trade Center Sculpture...was destroyed." However, they claim their mission differently

"As part of its assessment, the Task Force undertook an evaluation of nearly 200 pieces of outdoor sculpture located south of 14th Street to Battery Park at the island’s southern tip. We have already discussed the destruction and damage to pieces at the Trade Center itself. Beyond its perimeter, however, there was remarkably little damage to outdoor artwork."

However, it lauds the resourcefulness of the enterprising employees at the nearby Museum of Jewish Heritage

"Sensing smoke from the burning towers, the building’s automatic fire alarm system began a computerized shutdown of outside air vents and other critical systems.

"But the entire automated circuit panel failed when all electrical power was cut off to the area. With the Twin Towers ablaze in the background, museum engineers climbed to the roof and hand cranked the remaining vents closed. Even as police warned of the towers’ collapse and ordered the area evacuated, the engineers stayed to finish the job, turning off water valves as they left. Because police and other rescue workers used the museum grounds as a staging area following the
attack, only a few staff members were allowed to return for a brief inspection on September 13. They found no damage to the building or its fragile collection—not even a trace of dust inside."

This is the sort of important finding that they then feature in their news release.

The report produced is filled with terrible mistakes and the most errant nonsense. Private agendas leap from the page, such as

"A complete inventory of the numerous corporate art collections lost on September 11 may be impossible to compile because it is believed many art inventories were destroyed along with the Trade Center itself. AXA Art Insurance Corporation has estimated the value of artwork lost at $100 million."

That estimate is a neat trick of AXA's, who only insured three clients in the trade center, and wasn't privy to other private collections.

This quasi-governmental organization had the covert task of helping to create a totally false version of reality. For instance, they warn us

"In addition, 22 federal government departments and agencies had offices in the Trade Center complex. Included were the Secret Service, the Department of Transportation (Coast Guard), the Department of Defense, the Peace Corps, the Department of Labor, the Federal Maritime Commission, the Treasury Department, and the Department of Housing and Urban Development. All official records and office documents, together with computer hard drives, were destroyed. Although certain revenue collection agencies, such as the Internal Revenue Service and the Customs Service, are required to have back-up documentation stored off-site, the National Archives and Records Administration presumes vast numbers of other federal records were simply lost.

This seems like an odd conclusion, since the major advisement the report issued is the importance of maintaining off-site backups of critical records. The group was formed in 1995, and one would assume they arrived at that finding long before September 11th, 2001, and would have advised the individual government agencies that make up the group, as well as private arts organizations.

An example of utter nonsense is their claim that a resource stored in offices on the 60th floor of Tower 1 had "miraculously" survived the total destruction

"Even months after the disaster, a historic photographic archive owned by the Port Authority of New York and New Jersey was miraculously recovered. Up to 100,000 negatives dating back to the 1920s were found under the debris of Tower One in conditions ranging from ruined to pristine. This pictorial history of the entire metropolitan transportation system included documentation of the building of the George Washington Bridge, the Holland and Lincoln tunnels, and the World Trade Center itself."

This is evidence of advance planning and foreknowledge, with an obvious removal of a valued collection from the trade center before the attacks took place, similar to a report that a Rodin bronze cast of The Thinker had survived undamaged after falling from Cantor Fitzgerald offices on the 105th floor---only then to be lost or stolen while being held in the custody of members of the New York Fire Department.

An equally specious effort was made to tally cultural losses and create a reality from thin air by the International Foundation for Art Research (IFAR), which describes itself un-ironically as "a not-for-profit educational and research organization dedicated to integrity in the visual arts."

IFAR held a public symposium on February 28, 2002, and issued several reports of the proceedings under the heading, September 11th: Art Loss, Damage, and Repercussions."

Each of these separate reports is more fascinating then the last one read.  One of them has long been unavailable online, but has recently surfaced at archive.org. Called "The Art Lost by Citigroup on 9/11," by Suzanne F. W. Lemakis, it provides further evidence that art had been removed in advance from the trade center---in this case, Soloman's headquarters in Building 7. There comes a time when all such "coincidences" as these need to be added up.

Important to a discussion of Nagare's missing sculpture, is the report by Saul Wenegrat, the former Director of the Art Program for the Port Authority of New York and New Jersey, who curated the public art collection at the trade center, and is titled, "Public Art at the World Trade Center," Wenegrat retired after 20 years on the job, a period of time during which he helped acquire exactly seven pieces of public art. He tells us that

"After the recent destruction of the World Trade Center, I was asked to join a committee to put together items found at the site for possible use later in an archive or memorial. Together with Bartholomew Vorsanger and Marilyn Jordan Taylor, I was a member of a committee with that grim task. When I went to the site shortly after the bombing, this is what I found..."

so he lacks Vorsanger's excuse of only having had come aboard the project two weeks after the "bombing" had occurred. If possible, Wenegrat is even more circumspect about Nagare's lost work than Heritage Preservation was three months later. The extent of Wenegrat's remarks about the missing sculpture is found in one short paragraph:

"At the Church Street entrance to the World Trade Center Plaza (Fig. I), there was a large, black Swedish granite sculpture by Japanese artist Masayuki Nagare (Fig. 2). It was completed in 1972 and measured 14 feet high by 34 feet wide by 17 feet deep. Although it looked like a solid piece, it was actually a veneer of granite over a steel and concrete armature."

Apparently, like Barbara Bush, Wenegrat doesn't bother his "beautiful mind" with unpleasant facts, such as the wanton and willful destruction of a major art work, which formerly was under his care. He remains unmoved, incurious and unaffectionate---unlike the humanity underlying Robert Segal's expression of confusion and regret over the loss. Art means nothing to Wenegrat and it never did. Like the other "professionals" mentioned here, who work in service to the lie, he is a sad bureaucratic cog in a corrupt machine. And since we can tell one another apart now, where once we couldn't, there must be consequences for the evildoers.

Deutsch Bank, and the Debris Field from the Collapsing World Trade Center

Of the following three site plans, why does only the first illustration show the elevated bridge which connected the Deutsch Bank Building (herein described as the "Bankers Trust" building,) with the World Trade Center plaza?

These three maps obviously share the same origin. The level of information they contain is identical, except for the single change concerning one of five elevated walkways that connected the trade center plaza with neighboring office buildings.

The story of how Deutsche Bank agreed to purchase Bankers Trust in November 1998, with the deal finalized on June 4, 1999, is fascinating, and well within the design parameters of a decade-long plot by financial interests, in league with the United States government, to engage in a classic case of Jewish Lightning insurance fraud. Unfortunately for the schemers, Bankers Trust's greed and corruption got ahead of them, and nearly cost the conspiracy one of its key players.

Views of the connecting pedestrian bridge are very rarely found in the record, but I located the following two images---looking north and south along Liberty Street. Deutsch Bank/Bankers Trust was also a major tenant of the trade center, leasing 273,991 square feet in Building Four, and this causeway allowed access between the sites.

Does this represent an attempt by the corporation to distance themselves from the racketeering that destroyed the complex? I think so, absolutely.

From a layman's point of view, the demolishing of the bank's building at 130 Liberty Street following the attacks of September 11th was very strange indeed. The non-professional writing of Wikipedia's Deutsche Bank Building entry captures a flavor of the controversial act

The collapse of 2 World Trade Center during the September 11 attacks tore a 24-story gash into the facade of the Deutsche Bank Building and destroyed the entire interior of the structure. Steel and concrete were sticking out of the building for months afterward. This was eventually cleaned up but it was decided that the 41 story ruin was to be taken down. After the 9/11 attacks, netting was placed around the remains of the building. The bank maintained that the building could not be restored to habitable condition, while its insurers sought to treat the incident as recoverable damage rather than a total loss. Work on the building was deferred for over two years during which the condition of the building deteriorated.

I recall how the former Gulf and Western Building uptown at Columbus Circle was reconditioned, first in 1993, and then in 1994, after first being striped down to its steel skeleton. Surely 130 Liberty Street suffered no worse damage on 9/11 than the Verizon Building, or the Federal Office Building on Vesey Street (wrongly described on the maps above as being the "U.S. Post Office,") or the nearby 90 West Street, which was already a 94-year-old structure in 2001.

I think it was the illogic in the overstatement from Wikipedia, "Steel and concrete were sticking out of the building for months afterward," that made it clear to me how massive was the visual fraud that the perpetrators engaged in---in cahoots, of course, with a corrupt media.

All the images of the debris field surrounding the WTC were created out of whole photoshop cloth. For instance, it is highly unlikely that a four-story section of structure steel facade from the trade center would carve the gash we see in the Deutsch Bank Building; and if it did, it's more unlikely that it would be left hanging by what seems like a thread for months afterward, as the street below was emptied and cleared.

The effort to visually expand the debris field was necessary in order to try and make sense of the loss of Building 7---and ultimately, 130 Liberty Street. In addition, the almost unbelievable chutzpa required in attempting to deceive the general public on a scale so vast as found in these fraudulent cityscape scenes must also speak to the hidden method by which the towers were destroyed---what I remain convinced involves a secret energetic technology, which the powers-that-be weaponized for use against its own citizenry.

Was the structure partially reconstructed before the decision was made to abandon the building?

All photographs that depict debris collected right up to the edge of neighboring buildings are faked in the extreme. The image following has what appears to be four-stories worth of steel and debris right up to the edge of the Verizon Building at West and Vesey Streets.

This image shows debris piled up to the edge of buildings north of the 10 & 10 firehouse on Liberty Street.

The following three images show debris piled up to the edge of 90 West Street. Aside from the basic layout and relationships between the buildings, everything else we see in these shots, from debris, to workers, to the equipment, is faked.

These shots depict debris piled up like the swirl of a soft-serve ice cream cone. The aluminum piping and black fabric intermixed is supposedly the remnants of the scaffolding which completely obscured the facade of 90 West Street before the attacks.

The debris fields were visually expanded to explain the destruction that occurred to neighboring buildings, as well as the lack of appropriate quantities of steel and other mixed debris.