Midtown Manhattan, New York City, New York, United States

  

The CBS Building was built in 1961-64 as the headquarters for one of America's three historic radio and television networks. The last completed work designed by architect Eero Saarinen, it is one of New York's premier post-World-War-II-era skyscrapers and one of the country's great works of modern architecture. Saarinen's goal was to build what he called "the simplest skyscraper in New York." At the height of the popularity of the steel-cage office building, Saarinen designed the CBS Building as New York's first postwar reinforced concrete skyscraper. The 38-story tower is sheathed in dark gray granite, with gray-tinted vision glass - earning the building the sobriquet "Black Rock." When seen directly, the tower's bays appear open, with relatively narrow granite piers alternating with relatively narrow window bays of single sheets of plate glass, but when viewed from afar and necessarily at an angle, the V-shape of the piers effectively eclipses the view of the glass, creating the effect of a gray granite slab.

 

The austerity of the tower derives in part from its dark gray color and the almost complete absence of interruptions in the facades. Saarinen placed the main entrances on West 52nd and West 53rd Streets, rather than on Sixth Avenue, creating the effect of an absolutely pure granite slab on Sixth Avenue. Ground floor commercial uses are set behind the gray glass, making them barely visible from outside. Eero Saarinen died suddenly in 1961, leaving to his office the task of supervising the construction of the CBS

 

Building. Kevin Roche and John Dinkeioo, among others, oversaw the completion of the project from 1961 to 1964. The building remains the corporate headquarters of CBS.

 

DESCRIPTION AND ANALYSIS

 

William S. Paley and the Columbia Broadcasting System2

 

CBS traces its origins to the United Independent Broadcasters, a fledgling radio station network that was an early rival to NBC (the National Broadcasting Company), the network created by RCA's David Sarnoff. UIB incorporated in 1927, and, following its purchase later that year by the Columbia Phonograph Company, changed its name to the Columbia Phonograph Broadcasting System, making its radio debut on September 18. When Columbia, unenthusiastic about future prospects, sold back the broadcasting rights to UIB's owners a few months later, the sale included permission to use the "Columbia" name — hence the "Columbia Broadcasting System.7' In 1928, William S. Paley, connected by marriage to one of the company's owners, used half a million dollars from his portion of the proceeds from the sale of his family's Congress Cigar business to buy a 51 percent interest in the network. He took the title of president, and proceeded over the next half century to build CBS into one of the nation's major media conglomerates.

 

CBS's chief rival for its first several decades of existence remained the much larger NBC.3 RCA's Sarnoff initially saw NBC as a free service intended to encourage the purchase of RCA-manufactured radios. Paley, with only radio programming to sell, focused on the promotion of radio advertising and the creation of saleable programs. By the end of 1928, CBS had 47 affiliates. Highlights of CBS's growth over the following years, from tiny upstart to major network, include the creation of CBS's news department; experiments in television broadcasting as early as 1931 (the first regularly scheduled in the nation, even though almost no one could watch); putting the young Bing Crosby on the radio in 1932, opposite NBC's Amos 'n Andy; broadcasting the School of the Air to some six million children starting in 1934; initiating the Lux Radio Theater in 1935, with Helen Hayes in its first offering; in 1936 bringing the popular Major Bowes' amateur hour to the radio, as well as comedians Bums and Allen, Eddie Cantor, and Ed Wynn, while at the same time inaugurating the Columbia Workshop for serious drama, including the works of W.H. Auden, Stephen Vincent Benet, Maxwell Anderson and Edna St. Vincent Millay; and the infamous 1938 broadcast of Orson Welles' production, "War of the Worlds." During World War II, CBS emerged as a major news broadcaster, led by foreign correspondents William L. Shirer and

 

Edward R. Murrow, with Charles Collingwood reporting on D-day from the Normandy beaches.

 

After the war ended, William S. Paley became chairman of the board, while his protege Frank Stanton became president. CBS moved into television, broadcasting Arthur Godfrey, Ed Sullivan, I Love Lucy, and Walter Cronkite's series You Are There. In 1951, the CBS "eye" was developed as the network's television trademark. By the late 1950s, three decades after its founding, CBS had become firmly ensconced as a national institution. In 1966, the year following CBS's move into the new tower at 51 West 52nd Street, the corporation had over 17,000 employees, earned $64.1 million, and had net sales of over $800 million.

 

As early as 1929, while still in UIB's old offices in the Paramount Building, CBS had acquired Steinway Hall on West 57th Street for concert broadcasts.

 

Later that year, Paley arranged the move to offices at 485 Madison Avenue. As early as 1935, CBS planned a new headquarters to designs by prominent modem architect William Lescaze, but it was never built. ^By the late 1950s, however, a diversifying CBS had grown enormously, acquiring interests in record manufacturing, television sets, musical instruments, publishing and a talent agency. The network invested in theatrical productions, and for a time owned the New York Yankees baseball team. CBS operations occupied space in a number of buildings scattered around Manhattan. Paley decided that the company's rented space on Madison Avenue was neither adequate to the network's needs nor helpful to its image, and determined to build a new headquarters that could compete in architectural prestige with NBC's headquarters at Rockefeller Center. In his words: "I think we were . . . determined that if we went ahead on our own building for CBS, it would have to be of the highest aesthetic quality obtainable."4

 

Paley thought Park Avenue had "too cold a feeling," and considered Madison Avenue "too narrow to display good architecture." Nothing was available on Fifth Avenue. He found a site on the east side of Sixth Avenue between West 52nd and West 53rd Streets, just two blocks west of the network's old Madison Avenue headquarters, and a few blocks north of NBC, in an area Paley characterized as "emerging as the newest important business area in midtown."5 CBS bought the site in 1960, and hired Eero Saarinen, one of the most prestigious and best-known modem architects of the

 

day, to design the building. To PaJey, "not only was he one of this country's outstanding architects, he was also a creative artist in the deepest sense, and he won us over by the force of his personality, imagination and practicality."6

 

Eero Saarinen Associates

 

The American saga of the remarkable Saarinen family is framed by two skyscrapers, the Chicago Tribune Tower and the CBS Building. Eliel Saarinen's second-prize entry in the Chicago Tribune Tower competition of 1922 had enormous influence on subsequent skyscraper design; its critical American success helped convince the Finnish architect to bring his family, including his son Eero, to the United States. Eero Saarinen's CBS Building, the only skyscraper by either man to have been built, was completed only after its designer's untimely death, and has become recognized as one of the country's major monuments of modern skyscraper design.

 

A master architect of the mid-twentieth century, Eero Saarinen (1910-1961) was groomed from childhood to be a successful designer by his parents, textile artist Loja Gesellius Saarinen, and highly regarded international architect (Gottlieb) Eliel Saarinen (1873-1950). Eliel's early career is best remembered for his Helsinki Railroad Station (1904-c.1913, with Herman Gesellius) which successfully demonstrates his sympathies with the Arts and Crafts movement. The Saarinen family immigrated to the United States in 1923, but visited Finland annually. Eliel contributed significantly to the creation of the Cranbrook School and Academy of Art, a complex of children's schools and an advanced-level art academy, located at Bloomfield Hills, north of Detroit. Cranbrook was devoted to every field of design — textiles, metal work, architecture, and city planning. Eliel designed several buildings there, including the Cranbrook School for Boys (1924-30) and the Kingswood School for Girls (1929-30).

 

The latter project exemplifies the Arts and Crafts ideal of collaboration between the fine and applied arts: while Eliel oversaw all aspects of design, Loja designed and wove fabrics (in association with the Cranbrook Looms), Eero designed furniture, and his sister, Eva-Lisa, assisted with selecting wall and ceiling treatments.

 

During the early 1930s, Eero studied sculpture at the Parisian Academie de la Grand Chaumiere, completed a Bachelor of Fine Arts in the Beaux-A rts-oriented architecture program at Yale University, and toured Europe and Egypt on a travel fellowship, during which time he was influenced by the architecture of Erich Mendelsohn and Alvar Aalto — before joining his father's firm in 1936. Together, the Saarinens produced the much-praised Crow Island School (1939-40, with Perkins, Wheeler & Will) in Winnetka, Illinois. Eero entered many design competitions, and won several prizes. He collaborated with designer Charles O. Eames on the scheme for a molded plywood chair which won the Organic Design in Home Furnishings competition (1940-41), sponsored by the Museum of Modern Art. Recognized from that point on as an important furniture designer, Saarinen produced many designs for the Knoll furniture company, best represented by his Womb chair (1946-48) and Nos. 71 and 72 chair series (c.1956).

 

Eero Saarinen has been credited with developing the innovative "systems approach" to design; he carefully analyzed each problem, and usually relied on modern technology to find a unique form and structure to express a concept architecturally. As a result, each of his designs has a certain wholeness about it; he claimed to be concerned with the "esthetics of the whole organism" and sought an "expressive architecture, an antiassembly-Iine architecture," stating "each building should be as distinctive as each person should."8 The commission which firmly established his architectural career was the General Motors Technical Center (1945-56, with Smith, Hinchman & Grylls) in Warren, Michigan. Though the initial designs for the Center were begun in association with his father, the final scheme was largely Eero's.

 

The complex is ruled by its strictly modular design (structure, partitions, and mechanical systems are fully integrated) and features such technological innovations as neoprene window gaskets and walls of thin insulated panels sheathed in porcelainized sheet metal; the architect also added brightly colored brick surfaces and his signature element, a reflecting pool. During the GM project, the elder Saarinen died and Eero formed a successor firm', Eero Saarinen & Associates. An intensely devoted and methodical worker — he worked 365 days a year, according to his chief of design, Kevin Roche — Eero produced a number of buildings which have become American landmarks.

 

These include his Jefferson National Expansion Memorial (designed 1948, completed 1964), the famous parabolic arch in St. Louis, Missouri; the Kresge Auditorium and Chapel (1953-56, with Anderson & Beckwith), geometrically-derived enclosures highlighting different materials, at the Massachusetts Institute of Technology in Cambridge; the David S. Ingalls Hockey Rink (1956-59), the undulating concrete roof of which expresses the exhilaration of a hockey game, at Yale University in New Haven; and two soaring reinforced concrete masterpieces associated with flight: the Trans World Airlines Flight Center9 (1956-62) at New York (now J.F.K.) International Airport — probably his most renowned design — and Dulles Airport (1958-62, with Ammann & Whitney) in Chantilly, Virginia. The last three commissions were completed after Saarinen's death in 1961, as was his other prominent New York project, the somber, granite-clad Columbia Broadcasting System (CBS) Headquarters (1961-64) on Sixth Avenue between West 52nd and 53rd Streets.

 

Saarinen's buildings received extensive publicity in the press, and he was given several prestigious awards. Though many architects and architectural writers sympathetic to the International Style criticized Saarinen's work as lacking consistency, his oeuvre has withstood the test of time: by 1993, six of his designs had received the American Institute of Architects' 25-Year Award for "exemplifying] design of enduring significance." These include the Crow Island School, GM Technical Center, and Dulles Airport.10 Saarinen's successor firm, Kevin Roche John Dinkeloo Associates, founded by his colleagues, has been a significant force in American architecture during the second half of this century.

 

The CBS Building

 

Both Saarinen and Paley wanted a skyscraper that would differ from the established International Style of the 1950s represented by such New York towers as Skidmore, Owings & Merrill's Lever House and Mies van der Rohe's Seagram Building." "After all," said Saarinen's widow Aline, "that's why they came to Eero and not to Skidmore."'

 

Saarinen experimented with models showing various possible shapes for the tower, ranging from the wedding-cake profile encouraged by then existing zoning laws to various square and rectangular towers rising from a plaza.13 Saarinen eventually settled on a rectangular tower, as he wrote to Paley in March of 1961:

 

I think I now have a really good scheme for C.B.S. The design is the simplest conceivable rectangular free-standing sheer tower. The vertically of the tower is emphasized by the relief made by the triangular piers between the windows. These piers start at the pavement and soar up 424 feet. Its beauty will be, I believe, that it will be the simplest skyscraper statement in New York.14 Paley later went out to Saarinen's office in Detroit to see a model, which he at first didn't like. On a second visit, however, Paley changed his mind: "I saw what I had first thought of as austerity really came through as strong, exquisite, ageless beauty. In July, 1961 I decided to go ahead with Saarinen."15

 

John Dinkeloo later said that Saarinen had been "especially excited about this design."16 In Saarinen's words: "I wanted a building that would be a soaring thing. I think Louis Sullivan was right to want the skyscraper to be a soaring thing. I wanted a building that would stand firmly on the ground and would grow straight up. Your eyes should be led up to comprehend a building as a whole thing."17

 

After Saarinen's sudden death, Paley met with chief designer Kevin Roche, and decided to continue with the firm. Paley was an actively involved client. In the words of a contemporary critic, Eric Larrabee: "Where CBS left off and Saarinen began is now difficult to determine, especially since he was the kind of architect . . . who . . . cared less who got credit for an idea than whether his own ideas prevailed."18 Of the building's completion, Paley wrote; "Participating in the creation of Black Rock was one of the great sources of satisfaction of my life."19

 

The premise of Saarinen's design, a freestanding tower in a plaza, was bound up in changes then being proposed to New York City's zoning laws. The 1916 zoning ordinance, in effect until 1961, had encouraged progressively set-back towers. The new ordinance encouraged tall towers set back in plazas. Saarinen met with the architects and planners working out the new zoning proposal, including Gordon Bunshaft of Skidmore, Owings & Merrill, and James Felt of the New York City Planning Commission, to explain the economics of his tower. CBS wasn't just one of the first towers to be built under the new zoning; Saarinen's designs and calculations for the tower actually helped shape the new regulations.20 In the words of New York Times architectural critic Ada Louise Huxtable, the CBS Building "set the shape and standard for New York building today."21

 

Saarinen designed the CBS Building as New York's first postwar skyscraper built of reinforced concrete.22 Instead of an internal cage, from which to hang a seemingly weightless glass curtain wall, he designed exterior walls of triangular, weight-bearing concrete piers, which together with the interior service and elevator core support the building. By using the piers, he emphasized its verticality. Instead of a flat facade, Saarinen made the concrete piers in a three-dimensional projecting triangular V-shape, with the glass recessed behind them. And instead of creating a transparent glass, shiny steel, or aluminum facade, he sheathed the concrete piers in dark gray granite, and filled in the intervening window bays with gray-tinted vision glass. Instead of the illusion of a glass box, he created the illusion of a slab of dark granite — earning the building the sobriquet "Black Rock."

 

The five-foot widths of piers and window bays tied into the modular design of the entire structure. Each entrance on West 52nd and 53rd Street fit into one bay, and was planned with revolving doors, which required a minimum of five feet. Five-foot modules also met the needs of then standard office furniture arrangements.23 The precise dimensions of pier and window were carefully adjusted. Roche did a series of mock-ups of the proposed building in New Rochelle, New York, and Paley wrote he "must have gone out to New Rochelle at least thirty times to study the various mock-ups . . . when Roche, Stanton and I went out to look at [the mock-up], we realized that the difference between the window area and the column area was not right. Your eye could tell you that. We started then to change it. We got down to talking about a quarter of an inch or a sixteenth of an inch. We must have put up five or six different-sized mock-ups before we finally got it right."24

 

The use of dark gray granite was proposed by Saarinen, but the final selection was made by his successors. His widow suggested that Saarinen was thinking of executives in dark gray suits.25 Dinkeioo believed that dark stone projected strength better than glass.26 Saarinen himself wrote: "A dark building seemed more quiet and dignified and appropriate to this site."27 Paley recalls deciding in favor of true granite after rejecting a synthetic version, because "in the long run it would be worth it. The building would be built to last a hundred years. Granite would retain its beauty as long as the building stood." After examining granite from Africa, Japan, Norway, Sweden, Germany, France, Spain, Portugal, and the United States, they settled on Canadian Black granite from the Robitaille family quarry in Alma, Quebec.28

 

Saarinen's triangular piers and modular design created a three-dimensional study in architectural illusion. From directly across Sixth Avenue, for example, the tower's bays appear open, with five- foot-wide granite piers alternating with five-foot-wide window bays of single sheets of plate glass. When viewed from afar and necessarily at an angle, the V-shape of the piers effectively eclipses the view of the glass, creating the effect of a gray granite slab. The bays of any of the building's four sides thus appear to open directly in front of a viewer but appear to close up like a vertical Venetian blind to the right or left. As the viewer walks along the sidewalk, the bays appear to open and close in succession, rather like an accordion (as contemporary critics remarked). This optical effect was described by one contemporary writer as "trompe l'oeil,"29 and by another as "op-arch."30 Saarinen, describing the effect in motion, wrote: "We had learned the way a changing relief gives life to a facade."31

 

The austerity of the CBS Building derives in part from the almost complete absence of interruptions in the facades. There are no setbacks. The main entrances on the side streets are through doors set discreetly within bays and integrated into the facade's design. Saarinen created the effect of a pure glass and granite slab on Sixth Avenue. The commercial spaces at the ground floor, set behind gray glass, are rendered practically invisible from outside, with very discreet signage.32

 

Though he put the CBS Building in a sunken plaza, Saarinen tried in some measure to respect the street wall of Sixth Avenue, keeping the plaza small and siting the tower a little off-center. In the architect's words:

 

We tried to place the building on the site so that we could have a plaza and still not destroy the street line. A tower should not be tied in with lower street buildings. It should stand alone with air and light around it. A plaza is a very necessary thing in a city. It lets people sit in the sun and look at the sky. A plaza allows a building to be seen. Our buildings should be seen, because they are monuments of our time. But ... we have to remember the street line and we have to remember the space between is as important as the towers. These arrangements should be orderly and beautiful.33

 

Critical Reaction

 

CBS staff started moving into the new building at the end of 1964.34 That same year, the Architectural League of New York cited the building as one of eight recent CBS projects across the country built to high architectural standards, and

 

awarded a medal to CBS president Frank Stanton for "significant contributions and effective encouragement of the role of the arts in business and industry."35 Reporting on the award, the New York Times wrote: "Seeking to promote its corporate image, Columbia insisted on high architectural standards and employed some of the country's leading architects to achieve them."36

 

The following year, CBS won a Bronze Plaque from New York's Municipal Art Society for "an outstanding example of architecture befitting the city of New York." Stanton, accepting the award, explained: "The things we build should be beautiful for no better reason than man has created them as part of his work and places them beside the creation of nature as part of his life. The only goal for men who build should be to make nothing that is less than beautiful. In planning for the building, the one controlling idea from the outset was that we wanted a building actively, insistently, inexorably on the cutting edge in the evolution of the skyscraper."37

 

Critical reaction has varied somewhat, but the CBS Building has been generally accepted as one of New York's premier post-World-War-II-era skyscrapers and one of the country's great works of modern architecture. Even before its completion, the Times wrote that, "if buildings were rated like television programs, the Columbia Broadcasting System would have a new hit."38

 

The CBS Building represented a departure from the International Style, and some critics didn't understand that. Some thought that the building's piers did not explicitly express their function — an important concept in International Style design — because they didn't narrow towards the top (where they supported less weight than at the bottom).39 Yet others praised the piers as "directly expressed from plaza to sky, rather than concealed behind curtain walls as in neighboring office buildings."40 Similarly, Saarinen's biographer, Allan Temko, writing in 1962, faulted the tower for not growing "visually more open and light as it rises," and commented that though it had a plaza, the plaza was "scarcely more than a protective border for the freestanding tower, and is in no sense a real civic space."41 Temko opined that if Saarinen had had the opportunity to design additional skyscrapers, they would have overcome such weaknesses, making his untimely death "one of the cultural disasters of modern times."

 

Critic Bethami Probst, unhappy that the tower didn't "soar," compared it unfavorably with the Seagram Building ("If Seagram is the Rolls Royce of recent skyscrapers, CBS must be content with

 

being in the Bentley class (which is by no means bad)"). Nevertheless, in the critic's final judgment, "CBS is a building to be reckoned with, a powerful, brooding presence."43

 

David Jacobs described the impact of the opening-closing facades on a "fascinated" public: "They stroll back and forth, walk slowly then quickly, back and forth again, playing peek-a-boo." Though he found the CBS Building "impersonal and forbidding, and from close by, downright overwhelming," he noted that European cathedrals were overwhelming too, and he judged the building "a marvelous contribution to the city of New York, a splendid monument to the business of communications and the art of architecture."43

 

Ada Louise Huxtable, writing in 1966, thought the public was less favorable to the building than the critics: "The dark dignity that appeals to architectural sophisticates puts off the public, which tends to reject it as funereal," ascribing this fault to the corruption of "the public eye" which "takes bright and shiny as synonymous with new and good." Huxtable herself judged CBS "a building, in the true, classic sense: a complete design in which technology, function and esthetics are conceived and executed integrally for its purpose." She faulted the building's interior for being out of character with the exterior (it was not designed by Saarinen or his successor firm), but ultimately found the CBS Building a "first-rate work of architecture" and "an extraordinarily impressive structure."44

 

Description

 

The CBS Building is a freestanding, 38-story reinforced-concrete tower, sheathed in dark gray granite and gray-tinted vision glass, rising straight up 490 feet without setbacks. The tower, with a 135-foot by 160-foot footprint, is placed within a sunken plaza that occupies the entire western end of the block bounded by Fifth and Sixth Avenues and West 52nd and 53rd Streets on a site that is 200 feet-10 inches by 216 feet-10 inches. The tower occupies approximately 60 percent of the plaza's area and is set slightly towards the east. The plaza is set five steps (approximately three and a half feet) below the sidewalk level at Sixth Avenue, six steps below on West 52nd Street, seven steps below on West 53rd Street, and slopes downward to the east.

 

The building is rectangular in plan, with twelve bays on the eastern and western facades and fifteen bays on the wider northern and southern facades. Each facade is composed of five-foot-wide piers faced in "Canadian Black" granite flanking large, five-foot-wide panes of glass framed in bronze-

 

finished aluminum. The windows are 19 feet-10 inches high on the ground floor above bronze-finished aluminum sills, and nine feet high on the upper floors. At the first level above the ground floor, instead of glass the bays contain grilles.

 

The profile of each pier is a projecting triangular or V-shape; at each of the building's four corners the "V"s meet to form double-width piers, creating the effect of chamfered corners. Ground floor commercial uses behind gray glass are rendered practically invisible from outside.

 

There is no entrance to the CBS Building on Sixth Avenue. The building has fourteen ground floor entrances, seven on both West 52nd and West 53rd Streets. The entrances, containing three door types, are fitted unobtrusively into the narrow bays.

 

The entrances in the seven central bays on the West 52nd Street side are arranged as follows from west to east: 1) A single-door entry, flanked by sidelights, providing entrance to the commercial space; above it is a simple, modestly projecting light box. 2) A double-door entry with a simple, modestly projecting light box above. 3, 4, 5) Each has a revolving door with a simple, modestly projecting light box above with the raised letters "CBS." 6) A double-door entry with a simple, modestly projecting light box above. 7) A double-door entry with a simple, modestly projecting light box above, serving as entrance to a restaurant; there is a second simple, modestly projecting light box above, at the top of the bay. Discreet lettering on several windows identifies the restaurant. The single doors, double doors, revolving doors and their housings, and projecting light boxes are all of the same bronze-finished aluminum.

 

There are seven entrances and one window bay in the central bays on the West 53rd Street side, arranged as follows from west to east: 1) A double-door entry to the commercial space, with a simple, modestly projecting light box. 2) A double-door entry with a simple, modestly projecting light box above. 3, 4, 5) Revolving-door entrances with simple, modestly projecting light boxes above with the raised letters "CBS." 6) A double-door entry with a simple, modestly projecting light box above. 7) A window of the restaurant, with a simple, modestly projecting light box above it and

 

an additional simple, modestly projecting light box at the top of the bay. 8) A double-door entrance to the restaurant, with an angled projecting marquee with backlit letters indicating the restaurant's name, "China Grill."

 

The material of the doors and light boxes is the same as that used on West 52nd Street.

 

At the east elevation, the ground floor bays are as follows from south to north: 1, 2, 3) Glass windows. 4, 5, 6) Bronze-finished aluminum with a double door. 7) Bronze-finished aluminum with a grille. 8) Bronze-finished aluminum. 9) A glass double door, with bronze-finished aluminum above. 10,11,12) Glass windows for the restaurant. There are simple, modestly projecting light boxes in the 2nd, 5th, 8th and 11th bays.

 

The plaza is paved in a gray granite slightly lighter than that on the building's piers. The plaza is sunken below street level, forming a gray granite retaining wall with parapets and vertical slits on the inside faces. Wide steps lead down to the plaza from each street side; a narrower staircase with eight steps leads down to the plaza from the east.

 

Each set of steps has two freestanding bronze-finished aluminum railings. A ramp (not original) with a dark bronze-finished aluminum handrail has been added to the steps from West 52nd Street. The ends of the parapets above the retaining walls have polished bronze letters and numerals (replacements of the original) flanking the steps: "CBS" on Sixth Avenue, "51" for the address on West 52nd Street, and "52" for the address on West 53rd Street.

 

Planters with trees have been placed in the plaza, planters with bushes have been placed on the parapets of the retaining wall. At the eastern end of the plaza, the retaining wall has been enlarged, and includes a wheelchair-access ramp (a later addition), and a staircase leading down to a "messenger entrance." A portion of the tax lot has been excluded from the Landmark Site and has been re-landscaped as part of the plaza for the adjacent building to the east.

 

- From the 1997 NYCLPC Landmark Designation Report

Pentax K-S2, Auto Sears 55/1.4

 

DSLR versions of my P&S shots. You can call this collection "methodical" or "uncreative", I don't particularly care.

i've been living in sri lanka all life, and never had seen this before. these are fishermen carrying the net to prepare to go fishing. they do it in a very methodical way, where they carry this very long net in a long row, and lay it in a zigzg form on the beach.

  

picture taken in Wadduwa, Sri Lanka

The Nutshell Studies of Unexplained Death are a series of nineteen (twenty were originally constructed) intricately designed dollhouse-style dioramas created by Frances Glessner Lee (1878–1962), a pioneer in forensic science. Glessner Lee used her inheritance to establish a department of legal medicine at Harvard Medical School in 1936, and donated the first of the Nutshell Studies in 1946 for use in lectures on the subject of crime scene investigation. In 1966, the department was dissolved, and the dioramas went to the Maryland Medical Examiner’s Office in Baltimore, Maryland, U.S. where they are on permanent loan and still used for forensic seminars.

 

The dioramas are detailed representations of death scenes that are composites of actual cases, created by Glessner Lee on a 1 inch to 1 foot (1:12) scale. She attended autopsies to ensure accuracy, and her attention to detail extended to having a wall calendar include the pages after the month of the incident, constructing openable windows, and wearing out-of-date clothing to obtain realistically worn fabric. The dioramas show tawdry and, in many cases, disheveled living spaces very different from Glessner Lee's own background. The dead include prostitutes and victims of domestic violence.

 

Glessner Lee called them the Nutshell Studies because the purpose of a forensic investigation is said to be to "convict the guilty, clear the innocent, and find the truth in a nutshell." Students were instructed to study the scenes methodically—Glessner Lee suggested moving the eyes in a clockwise spiral—and draw conclusions from the visual evidence. At conferences hosted by Glessner Lee, prominent crime-scene investigators were given 90 minutes to study each diorama.

The Nutshell Studies of Unexplained Death are a series of nineteen (twenty were originally constructed) intricately designed dollhouse-style dioramas created by Frances Glessner Lee (1878–1962), a pioneer in forensic science. Glessner Lee used her inheritance to establish a department of legal medicine at Harvard Medical School in 1936, and donated the first of the Nutshell Studies in 1946 for use in lectures on the subject of crime scene investigation. In 1966, the department was dissolved, and the dioramas went to the Maryland Medical Examiner’s Office in Baltimore, Maryland, U.S. where they are on permanent loan and still used for forensic seminars.

 

The dioramas are detailed representations of death scenes that are composites of actual cases, created by Glessner Lee on a 1 inch to 1 foot (1:12) scale. She attended autopsies to ensure accuracy, and her attention to detail extended to having a wall calendar include the pages after the month of the incident, constructing openable windows, and wearing out-of-date clothing to obtain realistically worn fabric. The dioramas show tawdry and, in many cases, disheveled living spaces very different from Glessner Lee's own background. The dead include prostitutes and victims of domestic violence.

 

Glessner Lee called them the Nutshell Studies because the purpose of a forensic investigation is said to be to "convict the guilty, clear the innocent, and find the truth in a nutshell." Students were instructed to study the scenes methodically—Glessner Lee suggested moving the eyes in a clockwise spiral—and draw conclusions from the visual evidence. At conferences hosted by Glessner Lee, prominent crime-scene investigators were given 90 minutes to study each diorama.

Kate Bevilaqua gets a congratulatory hug after finishing the race as the top female competitor at the 2011 Iron Man Korea Jeju International Triathlon on July 3rd, 2011.

  

"A TEST OF ENDURANCE"

 

Wave after wave of swimmers raced across the sand and dove headfirst into the sea. Arms churned as bodies sliced through the waves in a long line that went as far as my eyes could see. Then, they turned around and began to make their way back to the beach. Heads bobbed to the side as they took in fresh breaths of air. Finally, great splashes of water sprayed everywhere as the swimmers reached the shore, a mixture of grim determination and cheerful smiles etched across their faces. A series of cheers erupted from the crowd waiting for them on the beach as they raced across the sand once again to their bikes for the next leg of the competition.

 

This was the scene at Hwasun Beach where nearly 1100 men and women took part in the 2011 Iron Man Korea Jeju Triathlon. Participants swam 3.8 km, bicycled 180.2 km, and ran 42.2 km for a total of 226.195 km on a difficult course that wound its way over rolling hills between Daejeong-Eup and the World Cup stadium in Seogwipo.

 

Cyclists worked their way methodically up a steep incline just outside of Jungmun and then coasted down a hill, thumbs up as they passed me, clearly relieved to finish that part of the race. But, the hardest part was yet to come: a full marathon that would test the will and endurance of these athletes.

 

Five grueling hours later, the end in sight, Balazs Csoke from Hungary, using all his remaining strength, dragged his exhausted body across the finish line, completing the race in 8 hours, 48 minutes, and 18 seconds. Korean hopeful Yeun Sik Ham finished strong, clocking in at 9:36:02 while Kate Bevilaqua of Australia was the top woman, finishing the race in 9 hours, 39 minutes, and 42 seconds.

 

www.jejuweekly.com/news/articleView.html?idxno=1730

 

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More images from the race www.flickr.com/photos/dmacs_photos/sets/72157627105746342/

 

Slideshow www.flickr.com/photos/dmacs_photos/sets/72157627105746342...

 

Please view my stream LARGE on black:

 

DMac 5D Mark II's photos on Flickriver

 

Follow me on Twitter @ twitter.com/#!/dmac5dmark2

 

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Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 3.2, Shutter speed of 1/320 and Focal Length of 70.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 17:13 EST PM

Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 3.2, Shutter speed of 1/320 and Focal Length of 70.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 17:05 EST PM

(further information you can get by clicking on the link at the end of page!)

History

 

Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel

© IMAREAL / E. Vavra

The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.

Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.

The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.

In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".

In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed ​​the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.

The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.

The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).

In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.

End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).

Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).

In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.

On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.

Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.

www.xn--gedchtnisdeslandes-ntb.at/orte/action/show/contro...

thegoldensieve.com

 

A good thing continues

 

Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.

The A7/r game-changer?

 

In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.

The RX1 is smaller and more discrete

 

This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.

The D800 has important functional advantages

 

On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.

Okay, so what is different from the last review?

 

For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.

My “be-there” camera

 

The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.

The family camera

 

I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.

Where to go from here.

 

So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.

On the reverse:

generous - Liberal; free

systematic - methodical

magnetic - attractive

emotional - seeing clearly

practical -

philosophical - calm . cool

spiritual - refined . baby

(at bottom)

Oscar Inman

 

Photographer

E. O. Daggett

Elm Street

Billings Missouri

cabinetcardphotographers.blogspot.com/2017/09/elbert-otis...

Met up with RZ68, Blue Hour and Annie for some late night photos. Blue Hour and Annie had to retire for the evening, so it was just down to Ian and me. I don't think I held up my end of the bargain on this shot as my lighting was horribly inconsistent, but Ian's methodical lighting more than made up for the shortfall.

 

Exposure could probably have used another 5 minutes to finish baking in on account of the waning moon.

 

(15 minute exposure + full color LED flashlight + gelled strobes + the kitchen sink)

 

Should be viewed larger on black.

‎WESTLAKE - It took nearly 150 ‪Los Angeles‬ ‪Firefighters‬ nearly two and a half hours to extinguish a major emergency fire in a vacant 2 story office building west of downtown Los Angeles Monday evening.

 

The Los Angeles Fire Department was summoned at 7:01 PM on June 13, 2016 to a structure fire at 2411 West 8th Street in the Westlake neighborhood not far from MacArthur Park. LAFD responders arrived quickly to find intense fire on the upper floor of a long vacant 14,351 square-foot two story office building, the site of previous blazes.

 

Firefighters used ground ladders to assist several imperiled persons at windows of the burning structure, with LAFD responders entering the building to performing the rescue of three others.

 

While extending hoselines to aggressively battle the flames within, LAFD crews sadly discovered and retrieved a dead man from the inferno, before the failing structure forced then to switch to defensive exterior operations twenty minutes into the firefight.

 

A total of 147 LAFD personnel under the command of Battalion Chief Jaime Moore, confined the blaze to the heavily damaged building of fire origin - which had no functional fire sprinklers, extinguishing the bulk of flame in just 2 hours and 22 minutes.

 

As a result of witnesses statements, Los Angeles Police Department Officers later detained and arrested an adult male suspected of starting the fire. He and one of the persons earlier rescued by firefighters, were taken to an area hospital by ambulance for evaluation of non-life threatening injuries.

 

With the flames extinguished well past darkness, firefighters remained at the structurally unsound premises to douse hotspots, prevent public harm and prepare for a further search at daybreak.

 

Early Tuesday, investigation teams from the LAFD Arson/Counter-Terrorism Section methodically processed the large and still-smoldering site to determine the fire's cause and origin, as highly-trained Human Remains Detection Dog and Handler teams performed a relentless search of the collapsed structure for deceased victims.

 

With the canines' help, firefighters discovered the remains of four adult victims, two men and two women, amid the rubble on the second floor of the building. Their discovery, combined with the male victim found deceased by firefighters battling the blaze, brought the death tally to five, all of whom appeared to be transients.

 

No firefighters sustained injury in the firefight, investigation or recovery operations.

 

A positive identification of the dead persons, to include the cause, time and manner of their death will be determined by the Los Angeles County Department of Medical Examiner-Coroner.

 

© Photo by John Conkle

 

LAFD Incident: 061316-1267

 

Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk

www.phaselis.org/en/about/about-project

Phaselis Research

 

Phaselis

 

When compared with the previous period of research on the history of the city over the past quarter century it has undergone radical changes. While modern scientists follow the path of their predecessors in collecting data through systematic processes and methodically analysing them, they change the route whereby they approach the city as a context- and a process-oriented structure, having economic, social, cultural, political and environmental dimensions which come together at different levels.

 

This considerably more inclusive definition expands the discipline concerning the city’s historical research, which consists of archaeology, epigraphy, ancient history and the other ancillary sciences and it encourages scientists from the natural and health sciences to participate within these studies. This is because in the course of the exploration of an ancient settlement the study of both the environment and the ecological setting which make human life possible; together with health issues, such as diet and epidemics, form the context within which human beings live, and which are thereby as important as the human actors.

 

Within the context of the planned Phaselis Research, even certain knowledge such as the settlement’s appearing on the stage of history as a favorite break-point with its three natural harbours, it being famous for its roses, the frequent seismic upheavals at sea and on its shores and its citizens leaving their homes because of a devastating malaria epidemic suggest the necessity of the application of this multi-dimensional research methodology in order to understand more fully the historical adventure of this city.

 

By presenting this research project, we aim to implement and realize this multi-dimensional research method, which as yet lacks widespread application in the field in our country, however conceptually and practically with a multi-disciplinary research team consisting of both national and international scientists, we intend to register systematically every kind of data/information regarding all contexts of the city employing modern methods and to present the results to the scientific world in the form of regular reports and monographic studies, thus forming a strong tie between past and future research.

 

Phaselis Territorium

 

The boundaries of the ancient city of Phaselis’ territorium are today within the administrative borders of the township of Tekirova, in Kemer District, determined from the archaeological, epigraphic and historical-geographical evidence, reaching the Gökdere valley to the north, continue on a line drawn from Üç Adalar to Mount Tahtalı to the south and extend along the Çandır valley to the west.

 

Phaselis was discovered in 1811-1812 by Captain F. Beaufort during his work of charting the southern coastline of Asia Minor for the British Royal Navy. Beaufort drew Phaselis’ plan and in the course of conducting his cartographic studies, he saw the word Φασηλίτης ethnikon on the inscriptions and consequently identified these ruins with Phaselis. C. R. Cockerell, the English architect, archaeologist and author came to Phaselis by ship and met Beaufort there. Then in 1838 C. Fellows, the English archaeologist visited the city. He found the fragments of the dedicatory inscription over the monumental gate built in honour of the Emperor Hadrianus and mistakenly thought the Imperial Period main street was the stadion due to the seats-steps on either side of the street. In 1842 Lt. T. A. B. Spratt, the English hydrographer and geographer, and the Rev. E. Forbes, the naturalist came to Phaselis via the Olympos and Khimaira routes. Due to the fact that they all came by sea and they only stayed for a short time, their descriptions of the topography inland are without detailed and there are serious errors in orientation.

 

PhaselisThose researchers who visited Phaselis between the late 19th and the early 20th centuries concentrated primarily upon the discovery of inscriptions. In 1881-1882 while the Austrian archaeologist and the epigraphist O. Benndorf, the founder of the Austrian Archaeological Institute, and his team were conducting research in southwestern Asia Minor, they examined Phaselis. In the winter of 1883 and 1884 F. von Luschan from the Austrian team took the first photographs which provide information concerning the regional features of Phaselis’ shoreline. In the same year the French scientist V. Bérard also visited Phaselis. In 1892 the members of the Austrian research team, O. Benndorf, E. Kalinka and their colleagues continued their architectural, archaeological and epigraphical studies in Phaselis. In 1904 they were followed by D. G. Hogarth, R. Norton and A. W. van Buren from the British research team. In 1908 the Austrian classical philologist E. Kalinka visited the settlement again, collected epigraphic documents and conducted research on the history of city (published in TAM II in 1944). The Italian researchers R. Paribeni and P. Romanelli visited Phaselis in1913 and C. Anti in 1921. Anti returned to Antalya overland and in consequence discovered several epigraphs and the ruins of structures within the territorium of Phaselis.

 

Further archaeological, epigraphical and historical-geographical studies of Phaselis were conducted by the English researchers F. M. Stark and G. Bean, who came to the region after World War II. In 1968 H. Schläger, the German architect and underwater archaeologist began exploring the topographical and architectural structures of Phaselis’s harbours. After Schläger’s death in 1969, the research was conducted under the leadership of the archaeologist J. Schäfer in 1970. H. Schläger, J. Schäfer and their colleagues obtained important data concerning the architecture and history of Phaselis through the surface exploration of the city and its periphery. Following the excavations conducted along the main axial street of the city, in 1980 under the direction of Kayhan Dörtlük, the then Director of the Antalya Museum and between 1981-1985 under the leadership of the archaeologist Cevdet Bayburtluoğlu; underwater exploration was carried out in the South Harbour under the direction of Metin Pehlivaner, the then Director of the Antalya Museum.

  

en.wikipedia.org/wiki/Phaselis

 

For our 28th anniversary, we decided to break the trip from Portland to our place in Idaho (9 hours, give or take, less if you're the one who gets to sleep) by stopping at Baker City in far eastern Oregon; booking a suite at the magnificent 1889 Geiser Grand Hotel; enjoying a fine dinner at the hotel; and taking a carriage ride through Baker City's quiet neighborhoods as dusk turned to evening. Our stay was everything we'd hoped for, and more. Thank you, Frank!

 

Baker City boomed at the end of the 19th century and the early 20th. A gold rush in the Blue Mountains (seen here in the background), farming and ranching all contributed to Baker City's prosperity. Then the town entered into a profound economic decline.

 

Today, Baker City's again a thriving regional business center. Isolated as they are from cities in Oregon and Idaho, people in and around Baker City come to Baker City's downtown to shop. Consequently, there's a welcome variety of merchants, something you don't find in small towns closer to cities such as Portland. Last but not least, as far as I could tell, the Big Box retailers (you know who you are) have passed Baker City by in their relentless quest to suck the life out of small-town America's historic downtowns. A hex and a pox on all of you!

 

What does that mean for the traveler? Well, for anyone who's interested in period architecture and/or Small-Town America, the downtown has an abundance of virtually pristine period storefronts of brick, stone, or brick and stone. There are also a few examples of 20's brick-and-terra-cotta architecture, and even an Art Deco high rise, probably commercial construction's final grand gesture as prosperity trickled away.

 

With a few exceptions that aren't nearly as bad as they could be, the storefronts on the High Street escaped the weird and disfiguring facelifts that were so popular in the middle decades of the last century. The central business district is unusual also in that there are relatively few vacant lots, the bane of most "old towns."

 

The large brick building that dominates this photo through a gap in our suite's curtains is The Antlers. Long abandoned, the former hotel still bears its name proudly and in a lovely period font. Frankly, "The Antlers" is such a perfect name for a western hotel that, if it didn't already exist, someone would have to invent it.

 

I'd hoped our traveling companion, Dot the Cat, would take to the suite at the Geiser Grand like Eloise at The Plaza, but it just didn't happen. I can't say Dot the Cat actively disliked her stay at the Geiser Grand but, unlike our late cat Lucy, Dot wasn't able to sack out for the duration on one of the hotel's comfy chairs after doing a thorough perimeter check (it was a always kick watching butch old Lucy march methodically around the room until she was satisfied it was clear) and having a snack.

 

Sure, Dot enjoyed lolling about in the sunshine on the the carpet during the late afternoon and, busybody that she is, Dot was fascinated by everything - animal, human and mechanical - she saw through this window. To her credit, Dot didn't have a crying jag while we were out, or order room service or pay-per-view.

 

I think the reason Dot couldn't settle down was she sensed the suite's previous canine and feline occupants in some form of cat Technicolor I'm very glad I don't have. I bet Dot stayed up most of the night pacing the room so she wouldn't be caught sleeping if that terrifying Malamute or difficult Siamese who overnighted there last month decided to make a sudden return.

Town house

Object ID: 32938 Main Street 83

Late Medieval Ackerbürgerhaus (house of the farming townsmen) with Steingewändefenstern (stone wall windows) from the 16th century.

de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...

 

(further information you can get by clicking on the link at the end of page!)

History

 

Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel

© IMAREAL / E. Vavra

The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.

Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.

The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.

In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".

In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed ​​the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.

The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.

The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).

In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.

End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).

Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).

In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.

On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.

Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.

geschichte.landesmuseum.net/index.asp?contenturl=http://g...

"I don't want anyone to feel sorry for me. Not just me, a lot of people put an incredible amount of their life into this thing, and it all fell apart. For all of us, in that sense, [Lost in La Mancha] is the only postcard we've got of what happened." --Terry Gilliam

 

This disaster actually happened.

When Johnny Depp signed on for The Man Who Killed Don Quixote, reteaming with director Terry Gilliam and costarring with his real-life partner Vanessa Paradis, I instantly couldn't wait to see it! Johnny was to play Toby Grosini, a modern-day advertising executive who travels back into the 17th century, where Don Quixote (Jean Rochefort) mistakes him for Sancho Panza. Vanessa Paradis was to play Johnny's love interest, Altisidora.

 

It's tragic that this project never got off the ground. (Tragic, I tell you!) But Lost in La Mancha is a worthy keepsake. This fascinating documentary chronicles Terry Gilliam's efforts to get The Man Who Killed Don Quixote made, starting from preproduction and ending after the sixth day of shooting, by which time they accomplished completing about 7 minutes of film. Everything possible went wrong, and they were all out of the director's control--illness, F16 drills, monumental storms, floods. This was an extreme case of fate.

 

The curse of Don Quixote lives!

In 1957, Orson Welles started working on his own version of Don Quixote, the story of a delusional old man wearing a homemade suit of armor who seeks adventure with his sidekick, Sancho Panza. The film was left unfinished when he died in 1982, and I hope the same doesn't happen to Terry Gilliam! Whenever I watch Lost in La Mancha, I'm reminded that I still want to see The Man Who Killed Don Quixote--Gilliam-style!

 

Because I love movies, I love this documentary, which offers a behind-the-scenes look at the tedium of moviemaking (basically lots of meetings and zillions of details). Fascinating, right? Well, what I find exhilarating is watching a team of people bring one person's vision to life--building sets and designing costumes, talking through the script and rehearsing scenes, etc.--especially when that person is as imaginative a director as Terry Gilliam is.

 

Terry Gilliam began working on The Man Who Killed Don Quixote in 1991. He had tried to film it in 1999, but funding for it fell through. This second attempt was to be the most expensive film made solely with European funds, and it's only half of the budget that the director needed. Terry Gilliam has a bad reputation when it comes to financing, which is why he went to Europe to make this movie. It stems from his experience making The Adventures of Baron Munchausen in 1988. During that shoot, problem after problem occurred and spending got out of control. The film was finished but didn't recoup its losses at the box office, and it got around town that Terry Gilliam was a wild director who didn't know how to manage. I'll never understand the taste of the general public, but The Adventures of Baron Munchausen is one of my all-time favorite movies, and it's because Terry Gilliam made it just right.

 

Lost in La Mancha hints at how The Man Who Killed Don Quixote might become Munchaussen Revisited for the director, but these new problems were unavoidable. While Terry Gilliam is an over-the-top showman who's entertaining to watch doing just about anything, the film combats his reputation by reflecting a serious, methodical director with a clear plan.

 

He asked filmmakers Luis Pepe and Keith Fulton to create a diary of the making of this film. "It may be the kind of narcissism that wants to see what the truth is--Because I don't know what reality is, let's assume that for a moment," Terry Gilliam says. "And here's a chance for someone to record what's really going on and then maybe learn something." Having worked with Terry Gilliam before on a documentary about the making of one of his other movies, 12 Monkeys, it's pretty amazing to see how much they capture in this one and how candid everyone is on film as things begin to go downhill. "It's not an exploitative kind of documentary," co-director Keith Fulton says, "It depicts a disaster, but it doesn't take it apart and look to see whose fault it was because, in fact, it wasn't really anyone's fault. It was a lot of ugly fate at work in what took this film down."

 

Here's a few of the problems during preproduction and on the set of The Man Who Killed Don Quixote that get Terry Gilliam and company Lost in La Mancha:

 

-- Star Jean Rochefort becomes ill the day before filming is to begin. Terry Gilliam decides to shoot scenes that don't involve him until he returns.

 

-- The first location to be shot is a NATO bombing training area. Officials say they'll only be training for an hour each day, which really meant all day long and ruined any chance of recording suitable audio. Johnny describes being near target practice of the F16s: "I remember being completely shocked by the sound of this plane screaming in--deafening! Between the set, where we were shooting, and the base camp, which is where our trailers were, you heard the plane scream and then a bomb exploding--and fire, a little blast of fire."

 

-- During lunch on the second day, the clear sunny sky is invaded by black clouds of death. Unlike everyone else who takes cover as rain and hail drench the desert, Terry Gilliam finds a rock to sit under and waits it out: "It was a great, biblical storm. It was God's vengeance! It was everything you ever hoped for! Everything howled, shattered, and crashed, and the rain was coming down, and this barren land was suddenly full of waterfalls! Then, it turned to hail the size of golf balls! And, I'm under this rock yelling, 'Yes! Yes! Gimmie all you got! You're not going to get me!'"

 

-- The rain stops, Terry Gilliam emerges from under his rock, and finds that everything is washed away--Everything. "There's nothing left. The tents are down. The sets are gone. The people are gone. There's nothing but mud as far as you can see," he describes. "I thought, 'I'm free at last. This burden of a film is off me, and I don't have to do it again!'"

 

-- On Day 4, the land is dry again, but the water from the storm has changed the landscape's hue and shape. It looks completely different and won't match the scenes that have already been shot on Day 1.

 

-- Finally, there's some good news: Jean Rochefort returns and shoots a scene! And, then there's bad news: It's clear that he's in serious pain. A few days later, doctors discover that the star has a double-herniated disc. His return is questionable.

 

After a while, the filmmakers felt awkward hanging around with cameras with everything falling apart around them. They called Terry Gilliam to voice their concerns, and he told them to keep going: "I've been working for 10 years to try and make this film. It's starting to look like I might not get to make the film, which means only one film is going to come out of it, and it's not going to be mine. So, it better be yours."

 

Don't worry, nothing happens to Johnny!

Because much of this documentary covers preproduction, Johnny isn't in Lost in La Mancha very much. He shows up, fresh from the set of Chocolat, about a week before shooting. If, like me, you love to see the man at work, there are some snippets of him discussing the script with Terry Gilliam and Jean Rochefort and--of course--some of him acting whatever scenes they could actually get in the can that first day. If, like me, you are also perfectly happy watching Johnny just sit around sipping coffee or whatever, there's some of that too. Among the DVD special features, he'll treat you to some interviews about the experience too.

 

Johnny was eager to work with Terry Gilliam again, having really enjoyed the experience of working with him on Fear and Loathing in Las Vegas in the '90s. "He is a lunatic, but I mean that as a great, great compliment because Terry, in a lot of ways, is really free. He's not bound by the realities that 'this is possible, this is not possible.' Terry's a great dreamer. He's able to put his visions into an arena and make them come true."

 

Despite everything, Johnny remained optimistic: "Against all odds, it felt like it was going to be a really great film." But Vanessa Paradis never even made it to the set. She arrived to do costume and makeup tests, seen to the right, but she wasn't scheduled to arrive on the set until Day 7--the day after everything shut down.

 

Vanessa Paradis is hugely popular in her native France as a model, singer, and actress. Johnny met her 1998 while filming The Ninth Gate in Paris, and they have two kids together. They've never worked on film together before, and I've barely heard Vanessa speak any English during their 14-year relationship, so I was keen to see her in this movie, where she would be in an English-speaking role. Alas, it wasn't meant to be. And, since she and Johnny decided to go their separate ways last June, I don't think it's going to happen. Sad, all around.

 

What now?

After everything that happened, Terry Gilliam remains defiant: "I'm going to make the film. I may have to recast the thing. There are a lot of things that may be different, but it's too good a script. I just know it's good. Everyone who reads it says this is magic. "As the years have gone by, he has fought to regain the rights to his script from investors, and Johnny's schedule has become increasing packed. The last I heard, our hero director had his script back and recast the film with Robert Duvall as Don Quixote and Ewan McGregor as Toby Grosini. (I'll take it!) He hopes they'll start shooting next spring. Keep your fingers crossed.

 

For a glimpse of what The Man Who Killed Don Quixote could be, you can see the trailer to Lost in La Mancha on YouTube: youtu.be/5dGJnttADJA

 

Fish fights? Giants? I don't know what it all means, but--come on--don't you want to see it?!

 

Do The Kitties need to know what's going on?

Rather than focus on all the disasters and unfortunate events, The Kitties celebrate what little film Terry Gilliam was able to shoot of The Man Who Killed Don Quixote. Contemplating the untimely demise of his 10-year project, Terry Gilliam (Norman) watches with (I think) Casting Director Irene Lamb (Ashes) a bit of film he shot of Johnny leading his horse through the desert. I think the horse is carrying Don Quixote (B.J.), but no one can say for sure because none of us has seen this movie!

 

What's next?

Johnny signs on to play a pirate in a Disney movie based on one of their run-down theme park rides. I keep the faith but am slightly worried that he may have lost some marbles.

 

For more images from Lost in La Mancha or information about Johnny Kitties, visit my blog, Melissa's Kitties: melissaconnolly.blogspot.com/2012/10/johnny-kitties-celeb...

 

UNSOLVED RIDDLE OF SHOCKING TRAGEDY IN SUBURBAN COTTAGE

WHAT MOTIVE PROVOKED CRIME?

Life-long Friend of Family Kills Wife and Then Commits Suicide

HUSBAND BELIEVES "POTTER WENT MAD"

(From "N.Z. Truth's" Special Auckland Representative)

Cheered with the prospects of work after a long period of bad luck, John Frederick Beesley returned to his home in Foch Avenue, Dominion Road, Auckland, to meet his wife and three children at the end of his day's toil.

Fate, with grim irony, had in the interval since he left that morning played one, of its cruellest jests, on the unsuspecting husband.

In the place of a smiling, plucky wife to greet him at the door, he found a locked house, and inside, when he had entered through a window, still unsuspecting, his horrified eyes discovered the body of his wife lying in a pool of blood, murdered by his best friend.

And the friend? William Potter, aged 55, Beesley's friend for twenty-five years, lay on the floor of his room with his throat cut and chest, terribly lacerated. He died later in the Auckland Hospital.

GRIEF-STRICKEN, and bereft, his home a shambles the agonised husband rushed away for help. Meanwhile in the warm summer evening the motherless children played happily m the garden, unaware of the terrible tragedy which had stricken their devoted mother. And yet such is the kindly disposition of the unfortunate husband that even faced with such harsh fate he does not find it in his heart to abuse his friend.

"There can be no other explanation than that he went mad. I can't think of him but as he was, an old friend," said Beesley.

Potter made the acquaintance of the Beesley family in Dunedin when he arrived from the Old Country, having an introduction from people in England.

While in Dunedin he acted as night porter at the Grand and City Hotels. Ill-luck had dogged the footsteps of John Frederick Beesley, a returned soldier who had seen service at Gallipoli and in France, for some time past but it reached a tragic climax when, he returned home on the evening of the tragedy.

Little did he dream as he left the Dominion Road tramcar and turned into the comparative peace of Foch Avenue that by the demented act of his friend he had been made a widower, and that his wife lay dead while his friend, horribly cut about, was lying In another room with death about to claim him.

Outwardly all was as usual. Mr. Beesley's three children were playing near the house and having greeted their father they told him in response to his question: "Mummie is not home." Inside the house all was silent and the doors were locked. It may be imagined that the unsuspecting hus- ….(missing).... made a sidelong and upward slash with the deadly weapon.

Some little warning she must have had for both her hands were cut and a small portion of Potter's broken watch-chain was found near her body. Near her on the floor were some articles of clothing she had been sewing, her thimble, and some thread.

The razor with which Potter murdered Mrs. Beesley was broken during the murder or when he inflicted injuries upon himself. A considerable portion of the blade near the tip had been broken off and was not found.

WAS SHE WARNED?

What happened before he killed Mrs. Beesley cannot be said with any certainty, but when her face was washed at the morgue it was found that she must have been hit or smashed over the face for it was bruised and her lips swollen. Her glasses were found almost hidden, under the mat before the fireplace.

This indicates that she was warned of what was to happen and the reason that her screams — if scream she could — were not heard is due to the fact that her neighbors on the western side of the house were out all the afternoon.

They heard nothing in the morning. Having carried out his horrible purpose Potter had apparently gone to his own room and discarded his clothing, which may have become bloodstained, and then slashed his chest several times, so as to practically expose his heart in one place, and his throat.

Meanwhile Mrs. Beesley lay where she had fallen, her head towards the ottoman. There were bloodstains on the walls and the ottoman. The only signs of struggle, if signs they could be called, were that the …. (missing) ….

steady man, always, willing to oblige, and more anxious to do a good turn than a bad one. Rarely did a woman employee leave the hotel to be married but that "Old Bill" would make her some wedding present by no means trivial if he had been overlooked when the subscription list had been passed around and, he had not been invited to subscribe owing to his being on night duty.

Little peculiarities he certainly had so "Truth's" investigators were informed. He took offence rather easily for one thing, and had a habit of chuckling to himself over little jokes apparently which he did not confide In his fellow workers.

But "Old Bill" was a most methodical and abstemious man. He mapped his duties out by a schedule and it was almost possible to tell the time of night by the work he would be doing. About Christmas time he left his employment as some small matter had displeased him, and since then he had been out of a job.

Accustomed to a regular routine of life it is thought by those who knew him best that this may have worried him unduly. Members of the Beesley family were not able to say that he had displayed any outward signs of extreme worry. He still continued to be the same very kindly man they had known for a decade. They had always looked upon him as a dear friend and there was no question of him being in want or homeless.

FRIEND OF FAMILY

The Beesleys had first known "Old Bill" when he arrived from the Old Country. They were then living in the South Island. Despite the shocking tragedy which has terminated the life of Mrs. Beesley, and that of their old friend, members of the family were unable to speak harshly of him.

"He has been a friend of the family for 25 years," they said. "We can't even now think hardly of him in spite of this. He was a very good living man, most sober in his habits; no one could have been kinder to the children than he was — he has taken them on trips even as far as Rotorua.

"He was fond of Ag. (Mrs. Beesley), but he was always the same and he was the soul of honor."

It is only reasonable to assume that he suddenly went mad, and as is often the case when a person goes mad the victim is often one whom the madman has most regard for. There seems to be no other explanation.

As indicating the regard in which the Beesley family held the dead man one said when asked for the use of a photograph by the reporter: "I couldn't let that be used again. Whatever has happened he was a friend and that photo makes him look a blackguard and he was not that in any way. We cant think of him like that. No one could have been kindlier or more honorable."

Mr. J. F. Beesley, upon whom falls the brunt of this cruel blow of fate, was one of the first to leave New Zealand for the war and was bandmaster of the Ist. Battalion. When the war ended he had gained the rank of first-class warrant officer. He was well- …. (missing) ….

band, who had returned from the first day's work he had had for many a long day, and was therefore in a more hopeful frame of mind than he had known for a while, thought that the only thing to do was to gain an entrance and see what was in preparation for the evening meal.

Through a back window he made his entrance, but the silence he had met with outside his home was not the silence of peace, but that of death.

On the floor of the living room in disarray in the midst of a great pool of blood lay his murdered wife.

Such a horrible shock must be left to the imagination, but sensing that this might not be the worst Mr. Beesley hurried to the other rooms and there in the front room, that occupied by his trusted friend, William Potter, he found his friend's form stretched out on the floor his throat cut and his chest gashed in a shocking manner.

Potter still lived. Speech was beyond him, but sounds came from his throat and he tried feebly to make signs with his hands.

SUDDEN ATTACK

"Come quick, something has happened," was the greeting which alarmed Mr. Beesley's neighbor, Mr. T. H. Nicholls, when the stricken husband came rushing over to him.

Within a little while, in answer to a telephone ring, Dr. M.B. Gunn was on the scene. Mrs. Beesley was long since past help, but the medical man did all that was possible for Potter, who was hurried off in the ambulance to the hospital.

Constable Belcher, of Mount Roskill, was the first constable on the scene; he could do nothing but note the details of the ghastly crime.

In the opinion of the doctor the murdered woman had been dead for about two hours when the discovery was made.

Before an hour had elapsed quite a posse of police were on the spot acting under the direction of Chief-detective Hammond. Inspectors Hollis and McIlveney arrived after 8 p.m.

It was reported that a desperate struggle had taken place which would lead to the belief that Mrs. Beesley had had at least a forlorn chance to fight for her life and raise the alarm.

This, however, is not borne out by facts, and an interview with the coroner, Mr. F. K. Hunt, S.M., does not bear out the statement.

So far as can be gathered it would seem that Mrs. Beesley must have been in the act of doing some sewing, and was sitting on an ottoman couch beside the western back window.

Whether Potter stole in on her, or was in the act of conversing with her, the razor hidden from her gaze, cannot be said, but the wound in the unhappy woman's throat indicates that Potter suddenly seized her from behind and …. (missing) ….

dining-room table was slightly out of alignment, and there was a little ruck in the carpet mat before the fireplace.

No letter, no scribbled note, has, so far as is known, been found which might throw any light on the motive for the tragedy, which is shrouded m mystery.

In the neighborhood Mrs. Agnes Beesley was liked and respected. Storekeepers and others who knew the dead woman, and the family, speak in the highest terms of them.

In spite of a very adverse run of luck and Mr. Beesley's unemployment Mrs. Beesley had always kept her children with, it is said, the help of relatives, neatly dressed, and well cared for.

The Beesleys were looked upon as good payers and faced their run of ill-luck with cheerfulness and fortitude.

It was a grim irony of fate that on that very day Beesley had commenced his first job for a long time and was more cheerful over the fact.

Potter, whom it was learnt was generally known as "Old Bill," had known Mr. Beesley, his brother and relations for about twenty-five years; in fact, he had been his friend before the bereaved man had married eleven years ago, and had lived with them as a boarder for three years.

For twenty years or so Potter, who was a railwayman at Home, had been employed as a night porter at two of Auckland's leading hotels. For the last twelve years or more he had held this position at the Star Hotel, Albert Street.

There he was known as a kindly, liked and respected in the army, and has a high reputation among those who know him. Like many another returned soldier life has not treated him kindly since the palmy days of peace arrived.

On Thursday morning the inquest on Agnes Beesley was formally opened by Mr. F. K. Hunt, coroner.

Brief evidence was given by the bereaved husband as to how he had left for his new job about 8.30 a.m. on the Wednesday morning when all was well, and his wife was m the best of health and spirits.

The inquest was then adjourned sine die.

It can only be concluded from the meagre evidence offering that Potter was the victim of a form of sudden dementia which may have been brought about by worry or his failure to secure employment.

MOTIVE A MYSTERY

He may have concealed his anxiety, it is true, and have brooded over things. It Is known that he left the house of the Beesleys in Foch Avenue on Wednesday morning for a while, but what took place in that brief space of time is so far unrecorded.

Whether the terrible deed took place after the midday meal or not cannot he stated with certainty, but the house was in perfect order, the beds made, and the dishes washed and put away.

Considered in all its aspects there can be no other conclusion arrived at than that something suddenly broke in the mind of the apparently sane man and becoming literally "possessed of a devil" he ran amok.

The very nature of his self-inflicted wounds points to this.

Whatever the incentive the real facts of the tragedy will never be known. Death has removed both victim and slayer and the secret lies buried with them.

Mrs. Beesley was born at Milton, Otago, 43 years ago.

paperspast.natlib.govt.nz/newspapers/NZTR19300227.2.25

 

Plot 42: Agnes Beesley (43) 19/2/1930 – Mrs – Manslaughter

Raymond Phillip Sampson (8 days) 1938

Graham David Sampson (20) 1964 – Carpenter (ashes)

Philip Harold Sampson (77) 1993 – Rtd Bus Driver (ashes)

 

In Loving Memory Of

AGNES BEASLEY

died 19/2/1930

RAYMOND PHILIP SAMPSON

died 6-4-1938

GRAHAM DAVID SAMPSON

died 31-12-1963

 

plaque

In Loving Memory Of

PHILIP

HAROLD

SAMPSON

10. 6. 1916 -

24. 6. 1993.

OLIVE

CONSTANCE

SAMPSON

18. 3. 1920 -

20. 7. 2011.

 

DEATHS

BEESLEY.—On February 19, at her late residence, Foch Avenue, Mount Roskill, Agnes, dearly-beloved wife of John Frederick Beesley; aged 43 years. Private interment. Funeral will leave Mclvor's Mortuary at 3 p.m. to-day (Friday).

paperspast.natlib.govt.nz/newspapers/NZH19300221.2.2.5

 

BEESLEY.— In loving memory of our dear wife and mother, Agnes, who passed away February 19, 1930. Ever remembered by her loving husband and children, Olive, Ronald and Eileen.

BEESLEY.—In fondest memory of dear Aggie, who passed away February 19, 1930. Some time we'll understand. Inserted by Her loving sister-in-law and brother-in-law, Ethel and Arthur May.

BEESLEY.—In loving memory of our dear sister, Agnes, who passed away February 19, 1930. Sadly missed. Inserted by her sister and brother-in-law, Bell and Garnett.

paperspast.natlib.govt.nz/newspapers/AS19310219.2.5

 

If you are worried about your or someone else's mental health, the best place to get help is your GP or local mental health provider. However, if you or someone else is in danger or endangering others, call police immediately on 111.

 

Or if you need to talk to someone else:

 

• LIFELINE: 0800 543 354 (available 24/7)

• SUICIDE CRISIS HELPLINE: 0508 828 865 (0508 TAUTOKO) (available 24/7)

• YOUTHLINE: 0800 376 633

• NEED TO TALK? Free call or text 1737 (available 24/7)

• KIDSLINE: 0800 543 754 (available 24/7)

• WHATSUP: 0800 942 8787 (1pm to 11pm)

• DEPRESSION HELPLINE: 0800 111 757

   

I can’t believe that these merely happen to be random cards that Babbage somehow swept off his desk and then hauled all over Europe. Charles Babbage was an extremely methodical guy.

 

The cards are not numbered, the have no apparent sequence, and they are of different sizes and materials. It may also be that some have gone missing with time. Still, I think they are a meaningful and deliberate set of closely-related cards, and that they all have one purpose. I am very much wondering what that was.

 

I can offer a few hints.

 

First, the long card with the smaller punch-holes is a “number card,” while the many smaller and squarer cards are “operations cards.”

 

The number card has “Pi” on it, and you’ll note that the numbers of Pi correspond to the pattern of punch-holes in the columns beneath them on the card. That card is not a way to calculate Pi, it’s actually the number, Pi, used as a constant, which is readable by a difference engine.

 

This particular card is described in the famous essay written by Menabrea in Turin and much-expanded by Ada Lovelace in London.

 

www.fourmilab.ch/babbage/sketch.html

   

If like me, you tend to have a more methodical perhaps some might say old fashioned approach to photography, then I highly recommend this manual Nikkor-Zoom lens..

 

I personally have no actual need for autofocus lenses, although I do own some Nikon AF glass (35mm f/2 & 50mm f/1.4), and the very good Sigma 17-50mm OS HSM lens for my Nikon D7000 (quality vintage manual ultra wide angle lenses are hard to find), I find the majority of modern glass sadly isn't to my taste (with it's hybrid elements and lackluster micro-contrast which only shallow DoF and extensive post-processing can disguise), and of course the professional grade AF-S lenses are prohibitively expensive for an amateur photographer like myself..

 

In fact, having rented a few professional Nikon lenses to try out (some primes, 24-70mm and 14-24mm), my favourite SLR lenses still are, to this day, all vintage manual glass, while not necessarily flawless optically they do have real 'character', some Nikon lenses are even better optically than their modern equivalents, however..

 

Here's my 'short list' of lovely affordable lenses (some are not as affordable now as they once were): M-O-G Lydith, Jupiter 37A, Tair 11A, Helios 40 & 44, Super-Takumar 50mm f/1.4, Takumar 35mm f/3.5, CZJ 135mm, 35mm & 20mm, Nikkor 24mm f/2.8 & 105mm f/2.5 Ai, Nikkor-Zoom 35-70mm f/3.5 & 80-200mm f/4 both Ai-S.

 

I highly recommend trying the above lenses at least once, if you get the opportunity and take the time, you won't be disappointed ☺️.

 

©MJPhoto

A historian in training, I've never been interested in modern times - and by modern I mean anything past 1939, really. Modern history strikes me as too political, it often annoys me. There is one historical event, however, which strikes a deep chord in my heart - the Warsaw Uprising in 1944, which started on 1st August, exactly 65 years ago, and in which my father took part, as a 15 year old soldier.

 

Sometimes confused with the Ghetto Uprising in 1943 (guess this shows something about world politics), it was one of the most tragic events in the history of my country, and believe me, we have a good record of martyrdom.

 

(Quoting Wikipedia, as it seems to be fairly accurate)

The Uprising began on 1 August 1944, as part of a nationwide rebellion, Operation Tempest. It was intended to last for only a few days until the Soviet Army reached the city. The Soviet advance stopped short, however, while Polish resistance against the German forces continued for 63 days until the Polish surrendered on 2 October.

 

The Uprising began as the Soviet Army approached Warsaw. The main Polish objectives were to drive the German occupiers from the city and help with the larger fight against Germany and the Axis powers. Secondary political objectives were to liberate Warsaw before the arrival of the Soviet Army, to underscore Polish sovereignty and to undo the division of Central Europe into spheres of influence by the Allied powers. The insurgents aimed to reinstate Polish authorities before the Soviet Polish Committee of National Liberation could assume control.

(end of quote)

 

Our casualities amounted to about 200 000 people, a vast majority of them civilians, methodically murdered by the Germans. In some parts of the city (Wola in particular), special groups of SS, Wehrmacht and police forces went from house to house, rounding-up and shooting all inhabitants.

 

During combat, around 25% of the city was destroyed, in part by German airplanes, which bombed house after house, block after block. After the fight, when they took complete control over the city again, Germans started systematically destroying everything that was left. They destroyed almost all buildings of any cultural value, dating sometimes as far back as the XV century, they stole art, burned books. Entire trains full of spoils rode west. Another 35% of prewar Warsaw perished, including the entire old town.

 

They also burned the central archives of Poland, forever destroying priceless documents and books dating back to the Middle Ages, as well our Golden Age of the XV-XVII century. But you see, books don't burn that well, oxygen doesn't get between the pages all that easily. You have to put quite a lot of work into thoroughly burning lots of books. They did. They systematically burned almost everything, book by book.

 

My city died.

 

August 1st was always a special day in my home. Ever since I was a little boy, my father would take me to the Warsaw military cemetery. We would meet many of his friends from the War, visit graves of those that didn't make it. After my father died and was buried on that very cemetery, I kept the tradition up, visiting the graves on the anniversary.

 

Normally I don't like taking photos on cemeteries, I believe that it is a very personal place. Today is different, however. The place was full of people, combatants, their families or just inhabitants of the city paying homage to its martyrs. This is why I decided to take a few photos, since it means so much to me.

 

... I hope this is not too long.

Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 3.5, Shutter speed of 1/200 and Focal Length of 55.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 17:26 EST PM

Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 3.2, Shutter speed of 1/400 and Focal Length of 60.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 16:29 EST PM

thegoldensieve.com

 

A good thing continues

 

Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.

The A7/r game-changer?

 

In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.

The RX1 is smaller and more discrete

 

This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.

The D800 has important functional advantages

 

On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.

Okay, so what is different from the last review?

 

For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.

My “be-there” camera

 

The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.

The family camera

 

I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.

Where to go from here.

 

So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.

WESTCHESTER - Transients escape as fire consumes vacant auto dealership.

 

At 2:27 am the Los Angeles Fire department and the Los Angeles County Fire Department were called to 5208 West Centinela Avenue. Arriving fire companies were met with thick black smoke and flames billowing from a two story commercial structure. Three squatters were immediately spotted and rescued from the roof of the burning structure. After descending the fire department ladders the unidentified civilians fled the scene.

 

166 Firefighters under the command of Assistant Chief Ralph Terrazas battled this intense and stubborn fire. A partial roof collapse trapping flames beneath heavy debris made containment extremely challenging. A methodical and systematic approach completely extinguished the fire in three hours. © Photo by Steve Gentry.

 

LAFD.ORG | Blog | Facebook | Twitter @LAFD @LAFDtalk

The Nutshell Studies of Unexplained Death are a series of nineteen (twenty were originally constructed) intricately designed dollhouse-style dioramas created by Frances Glessner Lee (1878–1962), a pioneer in forensic science. Glessner Lee used her inheritance to establish a department of legal medicine at Harvard Medical School in 1936, and donated the first of the Nutshell Studies in 1946 for use in lectures on the subject of crime scene investigation. In 1966, the department was dissolved, and the dioramas went to the Maryland Medical Examiner’s Office in Baltimore, Maryland, U.S. where they are on permanent loan and still used for forensic seminars.

 

The dioramas are detailed representations of death scenes that are composites of actual cases, created by Glessner Lee on a 1 inch to 1 foot (1:12) scale. She attended autopsies to ensure accuracy, and her attention to detail extended to having a wall calendar include the pages after the month of the incident, constructing openable windows, and wearing out-of-date clothing to obtain realistically worn fabric. The dioramas show tawdry and, in many cases, disheveled living spaces very different from Glessner Lee's own background. The dead include prostitutes and victims of domestic violence.

 

Glessner Lee called them the Nutshell Studies because the purpose of a forensic investigation is said to be to "convict the guilty, clear the innocent, and find the truth in a nutshell." Students were instructed to study the scenes methodically—Glessner Lee suggested moving the eyes in a clockwise spiral—and draw conclusions from the visual evidence. At conferences hosted by Glessner Lee, prominent crime-scene investigators were given 90 minutes to study each diorama.

Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 2.8, Shutter speed of 1/320 and Focal Length of 60.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 17:28 EST PM

Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 3.2, Shutter speed of 1/400 and Focal Length of 60.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 16:29 EST PM

💡HOW 🔽

🔥ACTION ONE (3✔️) (👨‍🔧Toaster) Heat your toaster. Then light your cigarette :

👣Step 1 (1✔️) 0:07

👣Step 2 (2✔️) 0:21

 

✅Finish 0:39

➕3 ✔️Experience Point in Trick

 

👩‍🔬eXplanation : Plug your toaster into an electricity source. Then turn on your toaster at a relatively high power. Afterwards, take your cigarette and rub it on the hot, red surface while making circles. Until you see smoke coming out of your cigarette. Repeat the operation until your cigarette is fully lit. Do not hesitate to smoke your cigarette to light your cigarette more easily, you can repeat that too.

 

✔️ Download PICTURES by L.Guidali : www.dropbox.com/sh/mghf2bhdhx9o2p0/AAD0BNNZ1jjhUd410fgRA3...

 

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ℹ️Electric source for the toaster. Difficult in an outdoor environment ...

⚠️Check before if your toaster is not faulty.

⚠️Pay attention to electricity.

⚠️Do not use any liquid or metal objects if you can not reach the hot surface of your toaster with your hand ... Drop it. Your toaster just does not adaper.

⚠️Do not forget to clean the toaster afterwards.

 

⏳ Trick In Less Than 1 Minute : www.youtube.com/playlist?list=PLCnt1yP-rsmnHfa303pV2rX5nC...

 

🏆Difficulty :Very Easy (Level 1)

🎓Skills : No skills required

️Senses : 👀Vision 👆To Touch 💃Proprioception Equilibrioception ♨️Thermoception

👩‍🏫Intelligences : Kinesthetic Body Intelligence

🔢Intelligence Logic Mathematics

💡Imagination

🙇State of Mind : 😶Focus

😵Methodical

😉Organize

😷Careful

💞Context (Example) : 🔥No Lighter

 

️Tools (🔨2)

🔨Toaster

🔨Cigarette

 

📋WHAT 🔽

💡How To Be Astute {1} Step by Step

🌟Light a Cigarette with a Toaster

💫Cigarette/Toaster World

🌌Light Up/Smoke Galaxy

✨Trick Universe (💡)

📝Type : Light a cigarette without a lighter (⚡Electricity & 🚬Cigarette)

🎨Style : Light a cigarette with a toaster.

️Language : International (🇬🇧 description and steps in English, but comprehensible by the whole world)

 

️You can use your playlists as filters, to find what you're looking for exactly : www.youtube.com/channel/UCb1N-vNT8Y1-qx0PdlvLRpg/playlists

 

📖HOW MUCH 🔽

👣2 Steps

🔥1 Action

✔️3 Experience Points

️2 tools

⏱️Preparation Time : 5 Secondes Minimum - 2 Minutes Maximum

⏰Waiting Time : 30 Secondes Minimum - 5 Minutes Maximum

🎬Action Time : 5 Secondes Minimum - 3 Minutes Maximum

️5 Senses

👩‍🏫3 Intelligences

🙇4 State of Mind

 

WHO 🔽

👍Tip by LG

🎥Filmed by LG : Go Pro Hero 5

📡Posted by LG

️Video made by LG (Windows Movie Maker 2017)

©Etoile Copyright (Cooking)

©Ikson (Music)

 

© You are free to use our video from the moment you include the "Follow Us" section in your publication description. Do not forget other items like music ... etc

 

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🎼Music promoted 📂 by eMotion

️Video Link : youtu.be/vO0dExuqfsk

 

❓WHY 🔽

Learn How To Light a Cigarette with a Toaster

 

📍WHERE 🔽

Pontault Combault (🇫🇷 France)

🇸🇪Sweden Music

 

🕓WHEN 🔽

📅23 December 2017

⌚Duration : 40 Secondes Minimum ~ 10 Minutes Maximum

⚠️The duration depends on the performance and tools used by the author. That is why this is indicated from the minimum to the maximum

 

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A good thing continues

 

Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.

The A7/r game-changer?

 

In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.

The RX1 is smaller and more discrete

 

This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.

The D800 has important functional advantages

 

On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.

Okay, so what is different from the last review?

 

For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.

My “be-there” camera

 

The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.

The family camera

 

I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.

Where to go from here.

 

So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.

Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 3.2, Shutter speed of 1/500 and Focal Length of 24.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 17:11 EST PM

💡HOW 🔽

🔥ACTION ONE (7,5✔️) (👨‍🔧Mixing and Carving) Mix the ingredients and knead the dough :

👣Step 1 (1,5✔️) 0:01

👣Step 2 (6✔️) 0:13

 

🔥ACTION TWO (0,5✔️) (👨‍🔧...) Let the dough rest :

👣Step 3 (0,5✔️) 0:41

 

✅Finish 0:50

➕8 ✔️Experience Points in cooking

 

👩‍🔬eXplanation :

Mix 25g of fresh yeast (you can use another type of baker's yeast) in 400ML lukewarm milk.

Then pour 4g of sugar. After, on a flat work surface (Or with your robot, petrin ... etc. You can use a big bowl too.) Pour 500g flour. Spread the flour, leaving a small crevice in the center to add 4g of salt and pour your milk with the yeast little by little while stirring.

Begin petrification of the paw for several minutes by adding 45ML of olive oil during petrification.

Once finished pour a little flour into a bowl and put the paw in it, pour some flour on top of the dough too. Allow

the dough to rest in a relatively warm and humid place for 3 hours (minimum advise) (You may deposit a lukewarm water container if the dough's resting location is an enclosed area).

 

ℹ️1 Tablespoon = 15G - 15ML (About)

ℹ️1 Teaspoon = 5G - 5ML (About)

 

⏳Cook in Less Than 1 Minute : www.youtube.com/watch?v=W5M50VREHR4&list=PLCnt1yP-rsm...

 

✔️ Download PICTURES by L.Guidali : www.dropbox.com/sh/mvxmxh8wxjhemtk/AABxhlrpDOGJJO1YrTB8Or...

 

✔️ Download PDF by L.Guidali : www.dropbox.com/s/2lm3zi87t0vtcm2/How%20to%20Cook%205%20-...

 

✔️ Download VIDEO by L.Guidali : www.dropbox.com/s/uh4li61rk4bejk8/how-to-cook-5-panzerott...

 

🏆Difficulty :Very Easy (Level 1)

🎓Skills : Some little notions of cooking

️Senses : 👀Vision 👆To Touch 💃Proprioception 👃Smell ♨️Thermoception 👅Taste

👩‍🏫Intelligences : Kinesthetic Body Intelligence

🔢Intelligence Logic Mathematics

💡Imagination

🙇State of Mind : 😶Focus

😔Patient

🤔Perfectionist

😵Methodical

😉Organize

 

️Tools (🔨5)

🔨2 Bowls (1 Optional)

🔨1 Spoonful

🔨Metering (Ingredients)

🔨1 Big Bowl

🔨Cooking System

 

🍲Ingredients 7 (1 Optional) (📜Recipe) : 16 (Panzerotti) 2292

🍚Olive Oil 🔍45ML 270 Calories

🍚Milk Lukewarm (Half skim) 🔍400ML 183 Calories

🍚Fresh Yeast 🔍25g 90 Calories

🍚Sugar 🔍4g 15 Calories

🍚Wheat Flour 🔍510g 1734 Calories

🍚Salt 🔍4g 0 Calories

🍚Water (Optional) 0 Calories

 

⚠️Consider nutrient intake too and not essentially calorie intake

 

📋WHAT 🔽

🍳How To Cook {5} Step by Step - 1 Minute

🌟Panzerotti Dough with Milk

💫Panzerotti Dough World

🌌Dough/Main Course/Secondary Dish Galaxy

✨Cooking Universe (🍳)

📝Type : Cooking of Panzerotti Dough ( Preparation of various recipes for meals)

🎨Style : Panzerotti Dough with Milk

️Language : International (🇬🇧 description and steps in English, but comprehensible by the whole world)

 

️You can use your playlists as filters, to find what you're looking for exactly : www.youtube.com/channel/UCb1N-vNT8Y1-qx0PdlvLRpg/playlists

 

📖HOW MUCH 🔽

👣3 Steps

🔥2 Actions

✔️8 Experience Points

️5 tools

🍲Need 7 Ingredients (1 Optional)

2292 Calories (About) 1 Panzerotti = 143 Calories

🔍Dosage (Weight) (About) : 445ML (💧Liquid) - 543G (Solid) (1= 28ML (💧) 34 () Weight of total ingredients used

👫How many people : 2-6 Persons (4 Medium) (Main meal)

⏱️Preparation Time : 15 Minutes Minimum - 1 Hour Maximum

⏰Waiting Time : 3 Hours ~ 5 Hours

️6 Senses

👩‍🏫3 Intelligences

🙇5 State of Mind

 

WHO 🔽

👩‍🍳Cook by Carmen

🎥Filmed by LG : Samsung Galaxy S7

📡Posted by LG

️Video made by LG (Windows Movie Maker 2017)

©Etoile Copyright (Cooking)

©Ikson (Music)

 

🎵Music Used Ikson - Blue Sky

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🎼Music promoted 📂 by eMotion

️Video Link : youtu.be/O2Ma7MTkoTE

 

❓WHY 🔽

Learn How To Cook Panzerotti Dough with Milk

 

📍WHERE 🔽

Pontault Combault (🇫🇷 France)

🇮🇹Italian Food

🇸🇪Sweden Music

 

🕓WHEN 🔽

📅10 December 2017

⌚Duration : 10 Minutes Minimum ~ 12 Hours Maximum

⚠️The duration depends on the performance and tools used by the author.

 

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v.2.002

Midtown Manhattan, New York City, New York, United States

  

The CBS Building was built in 1961-64 as the headquarters for one of America's three historic radio and television networks. The last completed work designed by architect Eero Saarinen, it is one of New York's premier post-World-War-II-era skyscrapers and one of the country's great works of modern architecture. Saarinen's goal was to build what he called "the simplest skyscraper in New York." At the height of the popularity of the steel-cage office building, Saarinen designed the CBS Building as New York's first postwar reinforced concrete skyscraper. The 38-story tower is sheathed in dark gray granite, with gray-tinted vision glass - earning the building the sobriquet "Black Rock." When seen directly, the tower's bays appear open, with relatively narrow granite piers alternating with relatively narrow window bays of single sheets of plate glass, but when viewed from afar and necessarily at an angle, the V-shape of the piers effectively eclipses the view of the glass, creating the effect of a gray granite slab.

 

The austerity of the tower derives in part from its dark gray color and the almost complete absence of interruptions in the facades. Saarinen placed the main entrances on West 52nd and West 53rd Streets, rather than on Sixth Avenue, creating the effect of an absolutely pure granite slab on Sixth Avenue. Ground floor commercial uses are set behind the gray glass, making them barely visible from outside. Eero Saarinen died suddenly in 1961, leaving to his office the task of supervising the construction of the CBS

 

Building. Kevin Roche and John Dinkeioo, among others, oversaw the completion of the project from 1961 to 1964. The building remains the corporate headquarters of CBS.

 

DESCRIPTION AND ANALYSIS

 

William S. Paley and the Columbia Broadcasting System2

 

CBS traces its origins to the United Independent Broadcasters, a fledgling radio station network that was an early rival to NBC (the National Broadcasting Company), the network created by RCA's David Sarnoff. UIB incorporated in 1927, and, following its purchase later that year by the Columbia Phonograph Company, changed its name to the Columbia Phonograph Broadcasting System, making its radio debut on September 18. When Columbia, unenthusiastic about future prospects, sold back the broadcasting rights to UIB's owners a few months later, the sale included permission to use the "Columbia" name — hence the "Columbia Broadcasting System.7' In 1928, William S. Paley, connected by marriage to one of the company's owners, used half a million dollars from his portion of the proceeds from the sale of his family's Congress Cigar business to buy a 51 percent interest in the network. He took the title of president, and proceeded over the next half century to build CBS into one of the nation's major media conglomerates.

 

CBS's chief rival for its first several decades of existence remained the much larger NBC.3 RCA's Sarnoff initially saw NBC as a free service intended to encourage the purchase of RCA-manufactured radios. Paley, with only radio programming to sell, focused on the promotion of radio advertising and the creation of saleable programs. By the end of 1928, CBS had 47 affiliates. Highlights of CBS's growth over the following years, from tiny upstart to major network, include the creation of CBS's news department; experiments in television broadcasting as early as 1931 (the first regularly scheduled in the nation, even though almost no one could watch); putting the young Bing Crosby on the radio in 1932, opposite NBC's Amos 'n Andy; broadcasting the School of the Air to some six million children starting in 1934; initiating the Lux Radio Theater in 1935, with Helen Hayes in its first offering; in 1936 bringing the popular Major Bowes' amateur hour to the radio, as well as comedians Bums and Allen, Eddie Cantor, and Ed Wynn, while at the same time inaugurating the Columbia Workshop for serious drama, including the works of W.H. Auden, Stephen Vincent Benet, Maxwell Anderson and Edna St. Vincent Millay; and the infamous 1938 broadcast of Orson Welles' production, "War of the Worlds." During World War II, CBS emerged as a major news broadcaster, led by foreign correspondents William L. Shirer and

 

Edward R. Murrow, with Charles Collingwood reporting on D-day from the Normandy beaches.

 

After the war ended, William S. Paley became chairman of the board, while his protege Frank Stanton became president. CBS moved into television, broadcasting Arthur Godfrey, Ed Sullivan, I Love Lucy, and Walter Cronkite's series You Are There. In 1951, the CBS "eye" was developed as the network's television trademark. By the late 1950s, three decades after its founding, CBS had become firmly ensconced as a national institution. In 1966, the year following CBS's move into the new tower at 51 West 52nd Street, the corporation had over 17,000 employees, earned $64.1 million, and had net sales of over $800 million.

 

As early as 1929, while still in UIB's old offices in the Paramount Building, CBS had acquired Steinway Hall on West 57th Street for concert broadcasts.

 

Later that year, Paley arranged the move to offices at 485 Madison Avenue. As early as 1935, CBS planned a new headquarters to designs by prominent modem architect William Lescaze, but it was never built. ^By the late 1950s, however, a diversifying CBS had grown enormously, acquiring interests in record manufacturing, television sets, musical instruments, publishing and a talent agency. The network invested in theatrical productions, and for a time owned the New York Yankees baseball team. CBS operations occupied space in a number of buildings scattered around Manhattan. Paley decided that the company's rented space on Madison Avenue was neither adequate to the network's needs nor helpful to its image, and determined to build a new headquarters that could compete in architectural prestige with NBC's headquarters at Rockefeller Center. In his words: "I think we were . . . determined that if we went ahead on our own building for CBS, it would have to be of the highest aesthetic quality obtainable."4

 

Paley thought Park Avenue had "too cold a feeling," and considered Madison Avenue "too narrow to display good architecture." Nothing was available on Fifth Avenue. He found a site on the east side of Sixth Avenue between West 52nd and West 53rd Streets, just two blocks west of the network's old Madison Avenue headquarters, and a few blocks north of NBC, in an area Paley characterized as "emerging as the newest important business area in midtown."5 CBS bought the site in 1960, and hired Eero Saarinen, one of the most prestigious and best-known modem architects of the

 

day, to design the building. To PaJey, "not only was he one of this country's outstanding architects, he was also a creative artist in the deepest sense, and he won us over by the force of his personality, imagination and practicality."6

 

Eero Saarinen Associates

 

The American saga of the remarkable Saarinen family is framed by two skyscrapers, the Chicago Tribune Tower and the CBS Building. Eliel Saarinen's second-prize entry in the Chicago Tribune Tower competition of 1922 had enormous influence on subsequent skyscraper design; its critical American success helped convince the Finnish architect to bring his family, including his son Eero, to the United States. Eero Saarinen's CBS Building, the only skyscraper by either man to have been built, was completed only after its designer's untimely death, and has become recognized as one of the country's major monuments of modern skyscraper design.

 

A master architect of the mid-twentieth century, Eero Saarinen (1910-1961) was groomed from childhood to be a successful designer by his parents, textile artist Loja Gesellius Saarinen, and highly regarded international architect (Gottlieb) Eliel Saarinen (1873-1950). Eliel's early career is best remembered for his Helsinki Railroad Station (1904-c.1913, with Herman Gesellius) which successfully demonstrates his sympathies with the Arts and Crafts movement. The Saarinen family immigrated to the United States in 1923, but visited Finland annually. Eliel contributed significantly to the creation of the Cranbrook School and Academy of Art, a complex of children's schools and an advanced-level art academy, located at Bloomfield Hills, north of Detroit. Cranbrook was devoted to every field of design — textiles, metal work, architecture, and city planning. Eliel designed several buildings there, including the Cranbrook School for Boys (1924-30) and the Kingswood School for Girls (1929-30).

 

The latter project exemplifies the Arts and Crafts ideal of collaboration between the fine and applied arts: while Eliel oversaw all aspects of design, Loja designed and wove fabrics (in association with the Cranbrook Looms), Eero designed furniture, and his sister, Eva-Lisa, assisted with selecting wall and ceiling treatments.

 

During the early 1930s, Eero studied sculpture at the Parisian Academie de la Grand Chaumiere, completed a Bachelor of Fine Arts in the Beaux-A rts-oriented architecture program at Yale University, and toured Europe and Egypt on a travel fellowship, during which time he was influenced by the architecture of Erich Mendelsohn and Alvar Aalto — before joining his father's firm in 1936. Together, the Saarinens produced the much-praised Crow Island School (1939-40, with Perkins, Wheeler & Will) in Winnetka, Illinois. Eero entered many design competitions, and won several prizes. He collaborated with designer Charles O. Eames on the scheme for a molded plywood chair which won the Organic Design in Home Furnishings competition (1940-41), sponsored by the Museum of Modern Art. Recognized from that point on as an important furniture designer, Saarinen produced many designs for the Knoll furniture company, best represented by his Womb chair (1946-48) and Nos. 71 and 72 chair series (c.1956).

 

Eero Saarinen has been credited with developing the innovative "systems approach" to design; he carefully analyzed each problem, and usually relied on modern technology to find a unique form and structure to express a concept architecturally. As a result, each of his designs has a certain wholeness about it; he claimed to be concerned with the "esthetics of the whole organism" and sought an "expressive architecture, an antiassembly-Iine architecture," stating "each building should be as distinctive as each person should."8 The commission which firmly established his architectural career was the General Motors Technical Center (1945-56, with Smith, Hinchman & Grylls) in Warren, Michigan. Though the initial designs for the Center were begun in association with his father, the final scheme was largely Eero's.

 

The complex is ruled by its strictly modular design (structure, partitions, and mechanical systems are fully integrated) and features such technological innovations as neoprene window gaskets and walls of thin insulated panels sheathed in porcelainized sheet metal; the architect also added brightly colored brick surfaces and his signature element, a reflecting pool. During the GM project, the elder Saarinen died and Eero formed a successor firm', Eero Saarinen & Associates. An intensely devoted and methodical worker — he worked 365 days a year, according to his chief of design, Kevin Roche — Eero produced a number of buildings which have become American landmarks.

 

These include his Jefferson National Expansion Memorial (designed 1948, completed 1964), the famous parabolic arch in St. Louis, Missouri; the Kresge Auditorium and Chapel (1953-56, with Anderson & Beckwith), geometrically-derived enclosures highlighting different materials, at the Massachusetts Institute of Technology in Cambridge; the David S. Ingalls Hockey Rink (1956-59), the undulating concrete roof of which expresses the exhilaration of a hockey game, at Yale University in New Haven; and two soaring reinforced concrete masterpieces associated with flight: the Trans World Airlines Flight Center9 (1956-62) at New York (now J.F.K.) International Airport — probably his most renowned design — and Dulles Airport (1958-62, with Ammann & Whitney) in Chantilly, Virginia. The last three commissions were completed after Saarinen's death in 1961, as was his other prominent New York project, the somber, granite-clad Columbia Broadcasting System (CBS) Headquarters (1961-64) on Sixth Avenue between West 52nd and 53rd Streets.

 

Saarinen's buildings received extensive publicity in the press, and he was given several prestigious awards. Though many architects and architectural writers sympathetic to the International Style criticized Saarinen's work as lacking consistency, his oeuvre has withstood the test of time: by 1993, six of his designs had received the American Institute of Architects' 25-Year Award for "exemplifying] design of enduring significance." These include the Crow Island School, GM Technical Center, and Dulles Airport.10 Saarinen's successor firm, Kevin Roche John Dinkeloo Associates, founded by his colleagues, has been a significant force in American architecture during the second half of this century.

 

The CBS Building

 

Both Saarinen and Paley wanted a skyscraper that would differ from the established International Style of the 1950s represented by such New York towers as Skidmore, Owings & Merrill's Lever House and Mies van der Rohe's Seagram Building." "After all," said Saarinen's widow Aline, "that's why they came to Eero and not to Skidmore."'

 

Saarinen experimented with models showing various possible shapes for the tower, ranging from the wedding-cake profile encouraged by then existing zoning laws to various square and rectangular towers rising from a plaza.13 Saarinen eventually settled on a rectangular tower, as he wrote to Paley in March of 1961:

 

I think I now have a really good scheme for C.B.S. The design is the simplest conceivable rectangular free-standing sheer tower. The vertically of the tower is emphasized by the relief made by the triangular piers between the windows. These piers start at the pavement and soar up 424 feet. Its beauty will be, I believe, that it will be the simplest skyscraper statement in New York.14 Paley later went out to Saarinen's office in Detroit to see a model, which he at first didn't like. On a second visit, however, Paley changed his mind: "I saw what I had first thought of as austerity really came through as strong, exquisite, ageless beauty. In July, 1961 I decided to go ahead with Saarinen."15

 

John Dinkeloo later said that Saarinen had been "especially excited about this design."16 In Saarinen's words: "I wanted a building that would be a soaring thing. I think Louis Sullivan was right to want the skyscraper to be a soaring thing. I wanted a building that would stand firmly on the ground and would grow straight up. Your eyes should be led up to comprehend a building as a whole thing."17

 

After Saarinen's sudden death, Paley met with chief designer Kevin Roche, and decided to continue with the firm. Paley was an actively involved client. In the words of a contemporary critic, Eric Larrabee: "Where CBS left off and Saarinen began is now difficult to determine, especially since he was the kind of architect . . . who . . . cared less who got credit for an idea than whether his own ideas prevailed."18 Of the building's completion, Paley wrote; "Participating in the creation of Black Rock was one of the great sources of satisfaction of my life."19

 

The premise of Saarinen's design, a freestanding tower in a plaza, was bound up in changes then being proposed to New York City's zoning laws. The 1916 zoning ordinance, in effect until 1961, had encouraged progressively set-back towers. The new ordinance encouraged tall towers set back in plazas. Saarinen met with the architects and planners working out the new zoning proposal, including Gordon Bunshaft of Skidmore, Owings & Merrill, and James Felt of the New York City Planning Commission, to explain the economics of his tower. CBS wasn't just one of the first towers to be built under the new zoning; Saarinen's designs and calculations for the tower actually helped shape the new regulations.20 In the words of New York Times architectural critic Ada Louise Huxtable, the CBS Building "set the shape and standard for New York building today."21

 

Saarinen designed the CBS Building as New York's first postwar skyscraper built of reinforced concrete.22 Instead of an internal cage, from which to hang a seemingly weightless glass curtain wall, he designed exterior walls of triangular, weight-bearing concrete piers, which together with the interior service and elevator core support the building. By using the piers, he emphasized its verticality. Instead of a flat facade, Saarinen made the concrete piers in a three-dimensional projecting triangular V-shape, with the glass recessed behind them. And instead of creating a transparent glass, shiny steel, or aluminum facade, he sheathed the concrete piers in dark gray granite, and filled in the intervening window bays with gray-tinted vision glass. Instead of the illusion of a glass box, he created the illusion of a slab of dark granite — earning the building the sobriquet "Black Rock."

 

The five-foot widths of piers and window bays tied into the modular design of the entire structure. Each entrance on West 52nd and 53rd Street fit into one bay, and was planned with revolving doors, which required a minimum of five feet. Five-foot modules also met the needs of then standard office furniture arrangements.23 The precise dimensions of pier and window were carefully adjusted. Roche did a series of mock-ups of the proposed building in New Rochelle, New York, and Paley wrote he "must have gone out to New Rochelle at least thirty times to study the various mock-ups . . . when Roche, Stanton and I went out to look at [the mock-up], we realized that the difference between the window area and the column area was not right. Your eye could tell you that. We started then to change it. We got down to talking about a quarter of an inch or a sixteenth of an inch. We must have put up five or six different-sized mock-ups before we finally got it right."24

 

The use of dark gray granite was proposed by Saarinen, but the final selection was made by his successors. His widow suggested that Saarinen was thinking of executives in dark gray suits.25 Dinkeioo believed that dark stone projected strength better than glass.26 Saarinen himself wrote: "A dark building seemed more quiet and dignified and appropriate to this site."27 Paley recalls deciding in favor of true granite after rejecting a synthetic version, because "in the long run it would be worth it. The building would be built to last a hundred years. Granite would retain its beauty as long as the building stood." After examining granite from Africa, Japan, Norway, Sweden, Germany, France, Spain, Portugal, and the United States, they settled on Canadian Black granite from the Robitaille family quarry in Alma, Quebec.28

 

Saarinen's triangular piers and modular design created a three-dimensional study in architectural illusion. From directly across Sixth Avenue, for example, the tower's bays appear open, with five- foot-wide granite piers alternating with five-foot-wide window bays of single sheets of plate glass. When viewed from afar and necessarily at an angle, the V-shape of the piers effectively eclipses the view of the glass, creating the effect of a gray granite slab. The bays of any of the building's four sides thus appear to open directly in front of a viewer but appear to close up like a vertical Venetian blind to the right or left. As the viewer walks along the sidewalk, the bays appear to open and close in succession, rather like an accordion (as contemporary critics remarked). This optical effect was described by one contemporary writer as "trompe l'oeil,"29 and by another as "op-arch."30 Saarinen, describing the effect in motion, wrote: "We had learned the way a changing relief gives life to a facade."31

 

The austerity of the CBS Building derives in part from the almost complete absence of interruptions in the facades. There are no setbacks. The main entrances on the side streets are through doors set discreetly within bays and integrated into the facade's design. Saarinen created the effect of a pure glass and granite slab on Sixth Avenue. The commercial spaces at the ground floor, set behind gray glass, are rendered practically invisible from outside, with very discreet signage.32

 

Though he put the CBS Building in a sunken plaza, Saarinen tried in some measure to respect the street wall of Sixth Avenue, keeping the plaza small and siting the tower a little off-center. In the architect's words:

 

We tried to place the building on the site so that we could have a plaza and still not destroy the street line. A tower should not be tied in with lower street buildings. It should stand alone with air and light around it. A plaza is a very necessary thing in a city. It lets people sit in the sun and look at the sky. A plaza allows a building to be seen. Our buildings should be seen, because they are monuments of our time. But ... we have to remember the street line and we have to remember the space between is as important as the towers. These arrangements should be orderly and beautiful.33

 

Critical Reaction

 

CBS staff started moving into the new building at the end of 1964.34 That same year, the Architectural League of New York cited the building as one of eight recent CBS projects across the country built to high architectural standards, and

 

awarded a medal to CBS president Frank Stanton for "significant contributions and effective encouragement of the role of the arts in business and industry."35 Reporting on the award, the New York Times wrote: "Seeking to promote its corporate image, Columbia insisted on high architectural standards and employed some of the country's leading architects to achieve them."36

 

The following year, CBS won a Bronze Plaque from New York's Municipal Art Society for "an outstanding example of architecture befitting the city of New York." Stanton, accepting the award, explained: "The things we build should be beautiful for no better reason than man has created them as part of his work and places them beside the creation of nature as part of his life. The only goal for men who build should be to make nothing that is less than beautiful. In planning for the building, the one controlling idea from the outset was that we wanted a building actively, insistently, inexorably on the cutting edge in the evolution of the skyscraper."37

 

Critical reaction has varied somewhat, but the CBS Building has been generally accepted as one of New York's premier post-World-War-II-era skyscrapers and one of the country's great works of modern architecture. Even before its completion, the Times wrote that, "if buildings were rated like television programs, the Columbia Broadcasting System would have a new hit."38

 

The CBS Building represented a departure from the International Style, and some critics didn't understand that. Some thought that the building's piers did not explicitly express their function — an important concept in International Style design — because they didn't narrow towards the top (where they supported less weight than at the bottom).39 Yet others praised the piers as "directly expressed from plaza to sky, rather than concealed behind curtain walls as in neighboring office buildings."40 Similarly, Saarinen's biographer, Allan Temko, writing in 1962, faulted the tower for not growing "visually more open and light as it rises," and commented that though it had a plaza, the plaza was "scarcely more than a protective border for the freestanding tower, and is in no sense a real civic space."41 Temko opined that if Saarinen had had the opportunity to design additional skyscrapers, they would have overcome such weaknesses, making his untimely death "one of the cultural disasters of modern times."

 

Critic Bethami Probst, unhappy that the tower didn't "soar," compared it unfavorably with the Seagram Building ("If Seagram is the Rolls Royce of recent skyscrapers, CBS must be content with

 

being in the Bentley class (which is by no means bad)"). Nevertheless, in the critic's final judgment, "CBS is a building to be reckoned with, a powerful, brooding presence."43

 

David Jacobs described the impact of the opening-closing facades on a "fascinated" public: "They stroll back and forth, walk slowly then quickly, back and forth again, playing peek-a-boo." Though he found the CBS Building "impersonal and forbidding, and from close by, downright overwhelming," he noted that European cathedrals were overwhelming too, and he judged the building "a marvelous contribution to the city of New York, a splendid monument to the business of communications and the art of architecture."43

 

Ada Louise Huxtable, writing in 1966, thought the public was less favorable to the building than the critics: "The dark dignity that appeals to architectural sophisticates puts off the public, which tends to reject it as funereal," ascribing this fault to the corruption of "the public eye" which "takes bright and shiny as synonymous with new and good." Huxtable herself judged CBS "a building, in the true, classic sense: a complete design in which technology, function and esthetics are conceived and executed integrally for its purpose." She faulted the building's interior for being out of character with the exterior (it was not designed by Saarinen or his successor firm), but ultimately found the CBS Building a "first-rate work of architecture" and "an extraordinarily impressive structure."44

 

Description

 

The CBS Building is a freestanding, 38-story reinforced-concrete tower, sheathed in dark gray granite and gray-tinted vision glass, rising straight up 490 feet without setbacks. The tower, with a 135-foot by 160-foot footprint, is placed within a sunken plaza that occupies the entire western end of the block bounded by Fifth and Sixth Avenues and West 52nd and 53rd Streets on a site that is 200 feet-10 inches by 216 feet-10 inches. The tower occupies approximately 60 percent of the plaza's area and is set slightly towards the east. The plaza is set five steps (approximately three and a half feet) below the sidewalk level at Sixth Avenue, six steps below on West 52nd Street, seven steps below on West 53rd Street, and slopes downward to the east.

 

The building is rectangular in plan, with twelve bays on the eastern and western facades and fifteen bays on the wider northern and southern facades. Each facade is composed of five-foot-wide piers faced in "Canadian Black" granite flanking large, five-foot-wide panes of glass framed in bronze-

 

finished aluminum. The windows are 19 feet-10 inches high on the ground floor above bronze-finished aluminum sills, and nine feet high on the upper floors. At the first level above the ground floor, instead of glass the bays contain grilles.

 

The profile of each pier is a projecting triangular or V-shape; at each of the building's four corners the "V"s meet to form double-width piers, creating the effect of chamfered corners. Ground floor commercial uses behind gray glass are rendered practically invisible from outside.

 

There is no entrance to the CBS Building on Sixth Avenue. The building has fourteen ground floor entrances, seven on both West 52nd and West 53rd Streets. The entrances, containing three door types, are fitted unobtrusively into the narrow bays.

 

The entrances in the seven central bays on the West 52nd Street side are arranged as follows from west to east: 1) A single-door entry, flanked by sidelights, providing entrance to the commercial space; above it is a simple, modestly projecting light box. 2) A double-door entry with a simple, modestly projecting light box above. 3, 4, 5) Each has a revolving door with a simple, modestly projecting light box above with the raised letters "CBS." 6) A double-door entry with a simple, modestly projecting light box above. 7) A double-door entry with a simple, modestly projecting light box above, serving as entrance to a restaurant; there is a second simple, modestly projecting light box above, at the top of the bay. Discreet lettering on several windows identifies the restaurant. The single doors, double doors, revolving doors and their housings, and projecting light boxes are all of the same bronze-finished aluminum.

 

There are seven entrances and one window bay in the central bays on the West 53rd Street side, arranged as follows from west to east: 1) A double-door entry to the commercial space, with a simple, modestly projecting light box. 2) A double-door entry with a simple, modestly projecting light box above. 3, 4, 5) Revolving-door entrances with simple, modestly projecting light boxes above with the raised letters "CBS." 6) A double-door entry with a simple, modestly projecting light box above. 7) A window of the restaurant, with a simple, modestly projecting light box above it and

 

an additional simple, modestly projecting light box at the top of the bay. 8) A double-door entrance to the restaurant, with an angled projecting marquee with backlit letters indicating the restaurant's name, "China Grill."

 

The material of the doors and light boxes is the same as that used on West 52nd Street.

 

At the east elevation, the ground floor bays are as follows from south to north: 1, 2, 3) Glass windows. 4, 5, 6) Bronze-finished aluminum with a double door. 7) Bronze-finished aluminum with a grille. 8) Bronze-finished aluminum. 9) A glass double door, with bronze-finished aluminum above. 10,11,12) Glass windows for the restaurant. There are simple, modestly projecting light boxes in the 2nd, 5th, 8th and 11th bays.

 

The plaza is paved in a gray granite slightly lighter than that on the building's piers. The plaza is sunken below street level, forming a gray granite retaining wall with parapets and vertical slits on the inside faces. Wide steps lead down to the plaza from each street side; a narrower staircase with eight steps leads down to the plaza from the east.

 

Each set of steps has two freestanding bronze-finished aluminum railings. A ramp (not original) with a dark bronze-finished aluminum handrail has been added to the steps from West 52nd Street. The ends of the parapets above the retaining walls have polished bronze letters and numerals (replacements of the original) flanking the steps: "CBS" on Sixth Avenue, "51" for the address on West 52nd Street, and "52" for the address on West 53rd Street.

 

Planters with trees have been placed in the plaza, planters with bushes have been placed on the parapets of the retaining wall. At the eastern end of the plaza, the retaining wall has been enlarged, and includes a wheelchair-access ramp (a later addition), and a staircase leading down to a "messenger entrance." A portion of the tax lot has been excluded from the Landmark Site and has been re-landscaped as part of the plaza for the adjacent building to the east.

 

- From the 1997 NYCLPC Landmark Designation Report

Even after being a quilter for almost twenty years I cannot do "brown bag" quilting where a person reaches in a grocery bag and takes the next strip of fabric. Just does not work for me. I am working on a piano key border for Sue B's quilt and I have laid out second sheets of paper (old typists will know what those are). Then I methodically piled on 2" wide strips of the fabrics shown in a previous photo. After paper piecing the 8.5" long strips I will cut 4" x 11" segments and piece those together.

3 PARA on Ex Urban Eagle

 

Paratroopers given masterclass in urban operations

 

From house-to-house fighting to dealing with hostile crowds, paratroopers have practised the full range of skills they need to operate in built-up areas.

 

Troops from 3rd Battalion The Parachute Regiment have been on Exercise Urban Eagle as they prepare to become the British Army’s global rapid reaction force. The week-long training on Salisbury Plain was designed to refresh the paratrooper’s key skills of fighting in built-up areas and dealing with public disturbances.

 

Urban skills saw the Colchester-based soldiers start at the basics of clearing enemy from individual rooms, working up to company attacks to capture the mock village at Copehill Down building-by building and street-by-street.

 

Public order drills saw the soldiers bombarded with abuse, petrol bombs and missiles by rioters as they practised how to work together to both defend each other and drive back hostile crowds.

 

3 PARA’s core role is to alternate with 2nd Battalion The Parachute Regiment as the lead unit in the Air Assault Task Force (AATF), which is ready to deploy anywhere in the world to conduct the full range of military operations. 3 PARA is training to take on the AATF role from April 2014, with the unit’s airborne infantry bolstered by artillery, engineers, signallers, medics and logisticians from 16 Air Assault Brigade.

 

Major Mike Brennan, 3 PARA’s second-in-command, said: “As the world becomes more centred on towns and cities that is where conflicts are more likely to take place. Urban areas are cluttered, congested and full of people - both friendly and hostile - and it is an essential part of our preparations for contingency operations to be used to this environment.

 

“Urban operations are slow, complex and soak up manpower. To secure a building you have to clear every room, because otherwise you can be left with enemy behind you. It is also vital to minimise collateral damage to avoid alienating the local population.

 

“The British Army has faced rioting crowds in Sierra Leone, Kosovo and Iraq and public order skills are important to have as a softer option to establish control of a hostile situation.

 

“The training has progressed well and helped develop our soldiers’ understanding of the intensity and variety of skills that urban operations demand.”

 

Private Stephen Derbyshire, 23 from Worcester, said: “This has been a challenge, developing skills that are very different to those needed to fight in the countryside. The key to fighting in built-up areas is being methodical, but with speed and aggression. We’re going into dark buildings that can be easily fortified and heavily defended with a small number of people, but also have innocent people sheltering inside.”

 

Among the soldiers having their first experience of public order training was Private Scott Reynolds, who has been in the Army for just over 18 months.

 

The 21-year-old from Kitts Green in Birmingham said: “Facing a hostile crowd gets your adrenaline going, but the most important thing is to keep your head and work as a team. It’s about showing discipline to a rabble to gain control of the situation. As paratroopers we’re at the head of the queue for the Army’s next operation, which is an exciting place to be, and it’s important to have trained for whatever could be asked of us.”

 

MOD/Crown copyright 2014

 

Photos: Corporal Andy Reddy RLC

Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 2.8, Shutter speed of 1/320 and Focal Length of 45.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 17:30 EST PM

💡HOW 🔽

🔥ACTION ONE (5✔️) (👨‍🔧Preparation) Prepare the potatoes :

👣Step 1 (3,5✔️) 0:01

👣Step 2 (1,5✔️) 0:17

🔥ACTION TWO (5✔️) (👨‍🔧Preparation) Prepare the spices for the recipe :

👣Step 3 (5✔️) 0:22

🔥ACTION THREE (2✔️) (👨‍🔧Preparation) Prepare the potato dish before Baking :

👣Step 4 (2✔️) 0:40

🔥ACTION FOUR (3✔️) (👨‍🔧Baking) Bake your preparation of potatoes and spices :

👣Step 5 (3✔️) 0:42

 

✅Finish 2:55

➕15,5 ✔️Experience Points in cooking

 

👩‍🔬eXplanation :

Peel and cut the potatoes in small squares.

Then clean the potatoes with water several times.

Then put the potatoes in a drain, Wait about 10 minutes (So that the potatoes do not get wet when cooking).

Cut a clove of garlic (6 - 7g About).

Place your potato wedges in a big bowl and pour in 105 ml of olive oil. Then pour the garlic cut into the salad bowl (Already cut beforehand).

Mix the potatoes and add a lid and wait about 10 Minutes for the spices to impregnate the potatoes.

In a dish designed for cooking, add baking paper (so that the potatoes do not stick)

Spread the potatoes on the sulfuric paper.

Light your oven (at a temperature of: 200 ° C - 392 ° F).

Let the potatoes cook for 40 minutes (stirring the potatoes about every 10 minutes).

 

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✔️ Download VIDEO by L.Guidali : www.dropbox.com/s/3z70lxrp9mznxzr/how-to-cook-8-baked-spi...

 

ℹ️1 Tablespoon = 15G - 15ML (About)

ℹ️1 Teaspoon = 5G - 5ML (About)

 

⚠️Remember to turn the potatoes regularly (About every 10 Minutes).

 

ℹ️Do not hesitate to divide the dosage according to the number of people who eat.

 

⏳Cook in Less Than 1 Minute : www.youtube.com/watch?v=W5M50VREHR4&list=PLCnt1yP-rsm...

 

🏆Difficulty :Easy (Level 2)

🎓Skills : Some little notions of cooking

️Senses : 👀Vision 👆To Touch 💃Proprioception 👃Smell ♨️Thermoception Equilibrioception 👅Taste

👩‍🏫Intelligences : Kinesthetic Body Intelligence

🔢Intelligence Logic Mathematics

💡Imagination

🙇State of Mind : 😶Focus

😔Patient

🤔Perfectionist

😵Methodical

😉Organize

💞Context (Example) : Accompaniment of a Dish

Recipe Garnishes

 

️Tools (🔨5) (1 Optional)

🔨Cooking System

🔨Salad Bowl

🔨Drainer

🔨Dish for Cooking

🔨Baking Paper [So that does not stick] {If you do not have one, Stir potatoes regularly} (Optional)

 

🍲Ingredients 7 (📜Recipe) : 1434 Calories

🍚Olive Oil 🔍105ML 630 Calories

🍚Salt 🔍4g 0 Calories

🍚Potato 🔍1Kg 770 Calories

🍚A Clove of Garlic 🔍7g 7 Calories

🍚Oregano 🔍7g 19 Calories

🍚Pepper 🔍2g 6 Calories

🍚Parsley 🔍7g 2 Calories

 

⚠️Consider nutrient intake too and not essentially calorie intake

 

📋WHAT 🔽

🍳How To Cook {8} Step by Step

🌟Baked Spice Potatoes

💫Potatoes World

🌌Accompaniment/Vegan Galaxy

✨Cooking Universe (🍳)

📝Type : Cooking Potatoes (Accompaniment) (🍏Vegan)

🎨Style : Cooking Potatoes with Olive Oil and Spices.

️Language : International (🇬🇧 description and steps in English, but comprehensible by the whole world)

 

️You can use your playlists as filters, to find what you're looking for exactly : www.youtube.com/channel/UCb1N-vNT8Y1-qx0PdlvLRpg/playlists

 

📖HOW MUCH 🔽

👣5 Steps

🔥4 Actions

✔️15,5 Experience Points

️5 tools (1 Optional)

🍲7 Ingredients

1434 Calories (About)

🔍Dosage [Weight] (About) : (💧Liquid - 105ML) (Solid - 1027g) {Weight of total ingredients used}

👫How many people : 2-8 Persons (4 Medium) (Accompaniment)

⏱️Preparation Time : 9 Minutes Minimum - 22 Minutes Maximum

⏰Waiting Time : 20 Minutes

️ Cooking Time : 40 Minutes

️ Temperature Cooking : Bake : 200°C - 392°F

️7 Senses

👩‍🏫3 Intelligences

🙇5 State of Mind

 

WHO 🔽

👩‍🍳Cook by LG

🎥Filmed by LG : Go Pro Hero 5 (1080 - 60-Large)

📡Posted by LG

️Video made by LG (Windows Movie Maker 2017)

©Etoile Copyright (Cooking)

©Ikson (Music)

 

🎵Music Used Ikson - New Day

Support Ikson :

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🎼Music promoted 📂 by eMotion

️Video Link : youtu.be/aSWFk2Amv6o

 

❓WHY 🔽

Learn How To Cook Baked Spice Potatoes

 

📍WHERE 🔽

Pontault Combault (🇫🇷 France)

🇸🇪Sweden Music

 

🕓WHEN 🔽

📅28 December 2017

⌚Duration : 1.09 Hour Minimum ~ 1.22 Hour Maximum

⚠️The duration depends on the performance and tools used by the author. That is why this is indicated from the minimum to the maximum

 

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v.2.004#

A Whitetip Shark of the coast of Isabella

 

Whitetip Shark

The whitetip reef shark, Triaenodon obesus, is a species of requiem shark, family Carcharhinidae, and the only member of its genus. A small shark usually not exceeding 1.6 m (5.2 ft) in length, this species is easily recognizable by its slender body and short but broad head, as well as tubular skin flaps beside the nostrils, oval eyes with vertical pupils, and white-tipped dorsal and caudal fins. One of the most common sharks found on Indo-Pacific coral reefs, the whitetip reef shark occurs as far west as South Africa and as far east as Central America. It is typically found on or near the bottom in clear water, at a depth of 8–40 m (26–130 ft). During the day, whitetip reef sharks spend much of their time resting inside caves. Unlike other requiem sharks, which rely on ram ventilation and must constantly swim to breathe, this shark can pump water over its gills and lie still on the bottom. At night, whitetip reef sharks emerge to hunt bony fishes, crustaceans, and octopus in groups, their elongate bodies allowing them to force their way into crevices and holes to extract hidden prey. Individual whitetip reef sharks may stay within a particular area of the reef for months to years, time and again returning to the same shelter. This species is viviparous, in which the developing embryos sustained by a placental connection to their mother. One of the few sharks in which mating has been observed in the wild, receptive female whitetip reef sharks are followed by prospective males, who attempt to grasp her pectoral fin and maneuver the two of them into positions suitable for copulation. Females give birth to 1–6 pups every other year, after a gestation period of 10–13 months. Whitetip reef sharks are rarely aggressive towards humans, though they may investigate swimmers closely. However, spear fishers are at risk of being bitten by one attempting to steal their catch. This species is caught for food, though there are reports of ciguatera poisoning resulting from its consumption. The International Union for Conservation of Nature (IUCN) has assessed the whitetip reef shark as Near Threatened, noting that its numbers are dwindling due to increasing levels of unregulated fishing activity across its range. The slow reproductive rate and limited habitat preferences of this species renders its populations vulnerable to over-exploitation. The whitetip reef shark is distributed widely across the entire Indo-Pacific region. In the Indian Ocean, it occurs from northern KwaZulu-Natal, South Africa to the Red Sea and the Indian subcontinent, including Madagascar, Mauritius, the Comoros, the Aldabra Group, the Seychelles, Sri Lanka, and the Chagos Archipelago. In the western and central Pacific, it is occurs from off southern China, Taiwan, and the Ryukyu Islands, to the Philippines, Southeast Asia, and Indonesia, to northern Australia, and is also found around numerous islands in Melanesia, Micronesia, and Polynesia, as far as Hawaii to the north and the Pitcairn Islands to the southeast. In the eastern Pacific, it occurs from Costa Rica to Panama, and off the Galápagos Islands. Associated almost exclusively with coral reef habitats, whitetip reef sharks are most often encountered around coral heads and ledges with high vertical relief, and additionally over sandy flats, in lagoons, and near drop-offs to deeper water. They prefer very clear water and rarely swim far from the bottom. This species is most common at a depth of 8–40 m (26–130 ft). On occasion they may enter water less than a meter deep. A relatively small species, few whitetip reef sharks are longer than 1.6 m (5.2 ft). The whitetip reef shark has a slim body and a short, broad head. The snout is flattened and blunt. With its slender, lithe body, the whitetip reef shark specializes in wriggling into narrow crevices and holes in the reef and extracting prey inaccessible to other reef sharks. Alternately, it is rather clumsy when attempting to take food suspended in open water. This species feeds mainly on bony fishes, including eels, squirrelfishes, snappers, damselfishes, parrotfishes, surgeonfishes, triggerfishes, and goatfishes, as well as octopus, spiny lobsters, and crabs. The whitetip reef shark is highly responsive to the olfactory, acoustic, and electrical cues given off by potential prey, while its visual system is attuned more to movement and/or contrast than to object details. It is especially sensitive to natural and artificial low-frequency sounds in the 25–100 Hz range, which evoke struggling fish. Whitetip reef sharks hunt primarily at night, when many fishes are asleep and easily taken. After dusk, groups of sharks methodically scour the reef, often breaking off pieces of coral in their vigorous pursuit of prey. Multiple sharks may target the same prey item, covering every exit route from a particular coral head. Each shark hunts for itself and in competition with the others in its group. Unlike blacktip reef sharks and grey reef sharks, whitetip reef sharks do not become more excited when feeding in groups and are unlikely to be stirred into a feeding frenzy. Despite their nocturnal habits, whitetip reef sharks will hunt opportunistically in daytime. Off Borneo, this species gathers around reef drop-offs to feed on food brought up by the rising current. Off Hawaii, they follow Hawaiian monk seals (Monachus schauinslandi) and attempt to steal their catches. A whitetip reef shark can survive for six weeks without food. Fearless and curious, whitetip reef sharks may approach swimmers closely but are seldom aggressive unless provoked. However, these sharks readily attempt, and quite boldly, to steal catches from spear fishers, which have resulted in several people being bitten in the process. In some places, local whitetip reef sharks have learned to associate the sound of a speargun discharge or a boat dropping anchor with food and respond within seconds. As of 2008, the International Shark Attack File lists two provoked and three unprovoked attacks to this species. Whitetip reef sharks are well-suited to ecotourism diving, and with conditioning they can be hand-fed by divers. In Hawaiian mythology, the fidelity (i.e. "loyalty") of whitetip reef sharks to certain areas of the reef for years at a time may have inspired belief in ʻaumākua, the spirits of family ancestors that take animal form and protect their descendants.

 

Isabella

Shaped like a sea horse, Isabela is the largest of the the islands in the Galapagos, more than 4 times larger than Santa Cruz the next largest. Isabela is 80 miles (100 km) in length and though it is remarkably beautiful it is not one of the most visited islands in the chain. Its visitor sites are far apart making them accessible only to faster boats or those with longer itineraries. One of the youngest islands, Isabela is located on the western edge of the archipelago near the Galapagos hot spot. At approximately 1 million years old, the island was formed by the merger of 6 shield volcanoes - Alcedo, Cerro Azul, Darwin, Ecuador, Sierra Negra and Wolf. Five of the six volcanoes are still active (the exception is Ecuador) making it one of the most volcanically active places on earth. Visitors cruising past Elizabeth Bay on the west coast can see evidence of this activity in the fumaroles rising from Volcan Chico on Sierra Negra. Two of Isabela's volcanoes lie directly on the equator - Ecuador and Volcan Wolf. Volcan Wolf is the youngest of Isabela's volcanoes and at 5,600ft (1707 m) the highest point in the Galapagos. Isabela is known for its geology, providing visitors with excellent examples of the geologic occurrences that have created the Galapagos Islands including uplifts at Urbina Bay and the Bolivar Channel, Tuft cones at Tagus Cove, and Pulmace on Alcedo. Isabela is also interesting for its flora and fauna. The young island does not follow the vegetation zones of the other islands. The relatively new lava fields and surrounding soils have not developed the sufficient nutrients required to support the varied life zones found on other islands. Another obvious difference occurs on Volcan Wolf and Cerro Azul, these volcanoes loft above the cloud cover and are arid on top. Isabela's rich animal, bird, and marine life is beyond compare. Isabela is home to more wild tortoises than all the other islands. Isabela's large size and notable topography created barriers for the slow moving tortoises; apparently the creatures were unable to cross lava flows and other obstacles, causing several different sub-species of tortoise to develop. Today tortoises roam free in the calderas of Alcedo, Wolf, Cerro Azul, Darwin and Sierra Negra. Alcedo Tortoises spend most of their life wallowing in the mud at the volcano crater. The mud offers moisture, insulation and protects their exposed flesh from mosquitoes, ticks and other insects. The giant tortoises have a mediocre heat control system requiring them to seek the coolness of the mud during the heat of the day and the extra insulation during the cool of the night. On the west coast of Isabela the nutrient rich Cromwell Current upwelling creating a feeding ground for fish, whales, dolphin and birds. These waters have long been known as the best place to see whales in the Galapagos. Some 16 species of whales have been identified in the area including humpbacks, sperms, sei, minkes and orcas. During the 19th century whalers hunted in these waters until the giant creatures were near extinction. The steep cliffs of Tagus Cove bare the names of many of the whaling ships and whalers which hunted in these waters. Birders will be delighted with the offerings of Isabela. Galapagos Penguins and flightless cormorants also feed from the Cromwell Current upwelling. These endemic birds nest along the coast of Isabela and neighboring Fernandina. The mangrove finch, Galapagos Hawk, brown pelican, pink flamingo and blue heron are among the birds who make their home on Isabela. A colorful part to any tour located on the western shore of Isabela, Punta Moreno is often the first or last stopping point on the island (depending on the direction the boat is heading). Punta Moreno is a place where the forces of the Galapagos have joined to create a work of art. The tour starts with a panga ride along the beautiful rocky shores where Galapagos penguins and shore birds are frequently seen. After a dry landing the path traverses through jagged black lava rock. As the swirling black lava flow gave way to form craters, crystal tide pools formed-some surrounded by mangroves. This is a magnet for small blue lagoons, pink flamingos, blue herons, and Bahama pintail ducks. Brown pelican can be seen nesting in the green leaves of the mangroves. You can walk to the edge of the lava to look straight down on these pools including the occasional green sea turtle, white-tipped shark and puffer fish. This idyllic setting has suffered from the presence of introduced species. Feral dogs in the area are known to attack sea Lions and marine iguanas.

 

Galapagos Islands

The Galápagos Islands (official name: Archipiélago de Colón; other Spanish names: Islas de Colón or Islas Galápagos) are an archipelago of volcanic islands distributed around the equator in the Pacific Ocean, some 900 km west of Ecuador. It is a UNESCO World Heritage site: wildlife is its most notable feature. Because of the only very recent arrival of man the majority of the wildlife has no fear of humans and will allow visitors to walk right up them, often having to step over Iguanas or Sea Lions.The Galápagos islands and its surrounding waters are part of a province, a national park, and a biological marine reserve. The principal language on the islands is Spanish. The islands have a population of around 40,000, which is a 40-fold expansion in 50 years. The islands are geologically young and famed for their vast number of endemic species, which were studied by Charles Darwin during the voyage of the Beagle. His observations and collections contributed to the inception of Darwin's theory of evolution by natural selection.

Chinatown. Manhattan, New York City, New York, United StatesCompleted in 1902, the Bowery Bank of New York is the earliest surviving building by the architectural firm of York & Sawyer in New York City. Located at the northwest corner of the Bowery and Grand Street, it is flanked on both sides by the former Bowery Savings Bank, a designated Landmark that was constructed during the years when both York and Sawyer were employed by the building’s architect, McKim Mead & White. While the neighboring facades are distinguished by massive pediments and Corinthian columns that suggest an ancient Roman temple, the straightforward monumentality of the Bowery Bank expressed its function as a modern place of work. The New York Daily Tribune praised the building when it opened, saying it “ranks with the best of our modern New York banks.” Edward P. York and Philip Sawyer formed their partnership in 1898 and the light-colored, marble street elevations display features associated with the City Beautiful movement and the Beaux Arts style, including a rusticated base, segmental-arched windows, and a substantial fourth-story cornice embellished with copper cresting that lines up with its neighbor. Such sturdy classical elements would have been visible to passengers traveling on the elevated railway, which served the Bowery from 1878 to 1955. A second entrance, at the west end of the Grand Street facade, serves the upper floor offices that were leased by the bank to outside tenants. During the first decades of the 20th century, York & Sawyer enjoyed great professional success, designing approximately 50 bank buildings, many of which are designated Landmarks. The Bowery National Bank was founded by flour merchant William R. Foster and Richard Hamilton in 1865. It was renamed the Bowery Bank of New York in 1889. After three-and-a-half decades at the corner of Canal Street, the bank moved to this location in 1902 and welcomed depositors until 1925, when it merged with the East River National Bank. As part of a subsequent merger it became part of the National City Bank of New York, a precursor to Citibank. In 1992, the building was sold and the lowest floors were converted to retail space. The first-story windows were enlarged, creating street level entrances and storefronts. Despite alterations and the installation of multiple canopies, most of the original classical detail survives, especially at the upper cornices and around the windows. An early commission by one of the New York City’s leading architectural firms, this simple yet monumental structure is a major example of early 20th-century bank architecture. Site The Bowery is one of Manhattan’s oldest streets, dating to the early 17th century. Under Dutch rule, this former Native American trail became known as the Bouwrij road because it provided access to various farms (called bouweries) and country estates north of New Amsterdam. Later known as the Post Road, following the War of Independence the Bowery developed rapidly, with rows of brick-fronted Federal style houses, such as the Edward Mooney House at 18 Bowery (1785-89, a designated Landmark) stretching from today’s Chinatown to Cooper Square in the East Village. As wealthier residents moved farther uptown in the mid-19th century, the Bowery became an increasingly commercial thoroughfare, attracting a mixture of specialty shops, dry goods stores and hardware businesses, such as John P. Jube & Company at 97 Bowery (1869, a designated Landmark). After the Civil War, however, the street was known for cheap and tawdry amusements, with new buildings and older structures functioning as music halls, theaters, bars and beer halls. In 1878, the Third Avenue elevated railway began to serve the Bowery, connecting South Ferry in Lower Manhattan with East Harlem. A single track ran above each side of the street, close to the sidewalk, casting shadows across neighboring buildings and, until the trains were electrified in 1903, occasional cinders onto pedestrians. The Bowery Bank of New York stands at the northwest corner of Grand Street, where stairs on the street’s north side provided access to railway platforms until 1955. Grand Street was originally known as the “Road to Crown Point,” which would later be called Corlears Point or Corlears Hook. Connecting the Bowery to the East River, this route was extended west by order of the Common Council in 1819, establishing one of Manhattan’s earliest, uninterrupted east- west links. Grand Street would become a much-traveled cross-town route, served by the Williamsburg and Hoboken ferries. Many banks were active along the Bowery during the 19th century. At this corner, the earliest was the Butchers and Drovers Bank, founded in 1830 by members of the cattle trade. In 1834, they erected a “dignified old-fashioned granite bank and office” at 124 Bowery. That same year, the Bowery Savings Bank was established at 128 Bowery. A former two-story residence, it was loaned to the new bank by the Butchers and Drovers Bank and was later replaced by a three-story Italianate structure at 128-30 Bowery in 1853, and by the current L- shaped structure in 1893-95 (a designated Landmark and Interior Landmark). At the southwest corner of Grand Street was the Oriental Bank. Founded on East Broadway in c. 1853, it moved to this location in the 1860s and was active until bankruptcy in 1908. It was replaced by a new building erected for the Chatham & Phenix Bank (later the Manufacturers Trust Company) in 1922. The Bowery Bank of New York The Bowery Bank of New York was founded by William R. Foster and Richard Hamilton in 1865. Numerous small commercial banks opened in New York City following passage of the National Banking Acts in 1863 and 1864. The main goal of this legislation was to generate cash to finance the Civil War and to create uniform bank notes backed with bonds issued through the U.S. Treasury. In addition, a 10% tax was levied on notes issued by state banks, encouraging both new and existing banks to join the national system. For six decades, the bank was active at three successive locations on the Bowery. Initially, the Bowery National Bank was located at 60 Bowery, at the south corner of Canal Street. The following year, it settled at 62 Bowery, where it remained for three-and-a-half decades. Foster was known as a successful flour merchant, who was associated with several New York City insurance companies. He was described as a “methodical, precise calculating man of unquestioned integrity.” In January 1889, the Bowery National Bank closed and joined the state banking system as the Bowery Bank of New York. Investors included C.W. Field, A.C. Benedict, R.W. Hendrickson, George E. Mott, B.A. Trowbridge and A.R. Nostrand. Following Foster’s death in 1890, John S. Foster, his son, joined the board of directors and served as the bank’s president from 1898 until his death in 1914. The Bowery Bank of New York Building occupies a 50 by 100 parcel. In 1901, property values in this area of the Bowery were described as “low” and the decision to invest here was viewed as a “bright” sign. By October 1899, rumors were circulating that negotiations had begun to acquire the corner lot. A Bowery Bank publication later reported: Indeed came the opportunity, almost at once and far sooner than expected or hoped for, of purchasing the very parcel of ground which had been for some time decided upon as the one best suited for the erection of a permanent building; one which should be adequate to the needs of the bank and its patrons, long since demanded. York & Sawyer submitted its plans (NB 1020-1900) for a 24 by 100 foot marble and granite fireproof structure to the Buildings Department in October 1900. With the purchase of the adjoining store-and-dwelling building at 126 Bowery in June 1901, the scheme was substantially enlarged, doubling the width of the Bowery facade to approximately 50 feet. The bank opened in April 1902 and the Buildings Department described construction as completed by August 1902. Marc Eidlitz & Son acted as general contractor. Otto M. Eidlitz (1860-1928) had joined his father’s firm in 1881 and was probably responsible for overseeing construction of the Bowery Bank, as well as other notable turn of the 20th century buildings, such as the St. Regis Hotel (1901-04), the B. Altman Department Store (1905-13) and the American Telephone and Telegraph Building (1912-16), all designated Landmarks. York & Sawyer York & Sawyer was a leading architectural firm in New York City in the early decades of the 20th century. Among the many buildings the firm designed in Manhattan and Brooklyn, the Bowery Bank of New York is the earliest to survive. At the time of this building’s construction, the firm’s office was located at 156 Fifth Avenue (part of Ladies’ Mile Historic District), at the northwest corner of 20th Street. Specializing in neo-classical design, they produced a wide variety of buildings inspired by French, Italian, English and early American sources. Edward P. York (1865-1928) was the son of a banker. He studied architecture at Cornell University from 1887 to 1889 and spent the next eight years in the office of McKim Mead & White, as personal assistant to Stanford White, chief designer of the neighboring Bowery Savings Bank. His partner, Philip Sawyer (1869-1949), was trained as an engineer. After a brief stint with McKim Mead & White in 1891, he left to study at the Ecole de Beaux Arts in Paris during 1892, where he worked in the Symbolist painter Odilon Redon’s atelier. Sawyer traveled extensively throughout Europe and his drawings were said to demonstrate a strong interest in the monuments of classical antiquity. He rejoined McKim Mead & White’s office in 1894. York & Sawyer formed their partnership in mid-1898. They shared a strong interest in the architecture of the Italian Renaissance and four of the firm’s five partners, including Lindley Murray Franklin (1875-1960) and Lewis Ayres (1874-1947), had previously worked together with McKim Mead & White. York reportedly managed the office and helped secure clients, while Sawyer worked closely with staff members to shape individual projects. Rockefeller Hall (1898) at Vassar College, Poughkeepsie, New York, was the firm’s first independent project, awarded while York and Sawyer were still employed by McKim Mead & White. Royal Cortissoz, an art critic, described impact of their first building: “They won it and from that time on commissions flowed in an unbroken stream. Fortune always smiled. Work was a happiness.” The Bowery Bank of New York was their second or third bank commission, following the Franklin Bank for Savings, which stood at the southeast corner of Eighth Avenue and 42nd Street until 1974. Completed in 1901, the Franklin Bank’s facade displayed bold decorative elements, including rusticated stonework and soaring round-arched windows. During this period, York & Sawyer also designed Riggs National Bank (1899-1902) in Washington, D.C., the North American Trust (1901) in Havana, Cuba, and the National Commercial Bank (1903-5) in Albany, New York. Though banks were a specialty, they also built significant institutional structures, including numerous hospitals, municipal bath houses and private clubs. In addition to such New York City Landmarks as the New-York Historical Society (1903-08), the Brooklyn Trust Company (1913-16), the Federal Reserve Bank (1919-24), the Bowery Savings Bank (1923), the Greenwich Savings Bank (1922-24), and the Central Savings Bank (1926-28); York & Sawyer also designed the Republican Club of New York (1904) on West 40th Street, the Pershing Square Building (1922) at Park Avenue and 42nd Street, the Royal Bank of Canada in Montreal (1928), the First National Bank of Boston (1928), the New York Athletic Club (1929) on Central Park South, and the Department of Commerce (1932) in Washington D.C. Design For York & Sawyer, the site posed a unique challenge. As former employees of McKim Mead & White, they wanted to show respect for the Bowery Savings Bank, which adjoins the corner site on both sides, as well as satisfying their client’s need for a handsome and practical banking and office structure. A sophisticated work of classical design, the Bowery Bank of New York simultaneously dominates the intersection and complements the impressive facades of its neighbor. While the 1895 building has massive pediments and Corinthian columns that suggest an ancient Roman temple, the straightforward monumentality of the Bowery Bank expresses its function as a modern workplace. Furthermore, by using similar materials and neo-classical forms, York & Sawyer hoped to give this busy downtown intersection a more dignified character. The Bowery Bank’s design was influenced by the City Beautiful movement and the Beaux Arts style. These convergent classical modes dominated American architecture at the start of the 20th century. The City Beautiful movement emerged in the 1890s, following the World’s Columbian Exposition (1893) in Chicago, which had pavilions by major New York City architects, such as McKim Mead & White and Richard Morris Hunt. The group of white stucco structures in the Court of Honor attracted considerable attention, influencing the style and palette of many subsequent American buildings, especially in urban centers. Numerous architects, such as Warren & Wetmore and Ernest Flagg, studied at the Ecole de Beaux Arts during this period, bringing home a Modern French sensibility that emphasized the use of abstracted classical forms. Sawyer briefly attended the legendary Paris school, and its influence is felt in the building’s squat roof, arcaded windows, oversized corbels and large cornices. By the start of the 20th century, New York City had solidified its position as the center of American finance. Many banks were concentrated in the vicinity of Wall Street but there were also offices on major thoroughfares and in commercial districts. Bank design and imagery had gradually evolved through a succession of architectural styles during the second half of the 19th century, from Italianate and French Second Empire to Classical Revival, which was especially popular in the years leading up to the First World War. The earliest examples that survive in New York City are the Italianate style Hanover Bank (1852-53) in Lower Manhattan, the Second Empire style Metropolitan Savings Bank (1867) at 9 East 7th Street, and the Kings County Savings Bank (1868) in Williamsburg, Brooklyn. In the vicinity of the Bowery Bank, such designated Landmarks include the Italianate style Bond Street Savings Bank (1873) and the Germania Savings Bank (1898-99), a Classical Revival building at the northwest corner of Spring Street. Five stories tall, the Bowery Bank is a neo-classical structure of monumental proportions. Faced with white South Dover marble, the rusticated base (with a pink Milford granite water table) has large segmental arched window openings trimmed with elaborate keyed surrounds. Many earlier banks, especially ones built during the Renaissance era in Italy and the Bank of England (John Soane, built 1788-1833), incorporated rusticated stonework on the lower floors but the Bowery Bank incorporates stone bands of alternating length that are part of the window and door surrounds. There is relatively little carved stone detail, except above the original entrance on the Bowery and the second-story windows, as well as embellishing the fourth-story cornice. The relative absence of ornament was a deliberate choice: it gave the bank a strong presence on a crowded and slightly chaotic commercial thoroughfare and its details were positioned to increase visibility from the sidewalks and the elevated railway. Whereas both entrances to McKim Mead & White’s former Bowery Savings Bank are massive and somewhat cavernous, the Bowery Bank has mostly unornamented expanses of pinkish white marble walls that were composed to suggest pilasters. Little shadow is cast by these elements, allowing the elevations to glow softly on a sunny day. Because the first story originally sat in the shadow of the elevated railway, most of the ornament was concentrated around the bank entrance or near the top of the facade. At the base, each window was set high on the wall, probably above the average person’s line of sight, with bronze grilles (removed by the 1930s) to create a sense of privacy. Centered below each window was a shallow rectangular element with a vertical slit. Sometimes called a rifle slit, it recalls an architectural element that was found in medieval forts and some Renaissance palaces. The bank entrance, located in the right (south) bay of the Bowery facade, was treated similarly to the window openings and was crowned by a shallow second-story balcony. This architectural feature was supported at either end by pairs of oversized corbels encrusted with hanging garlands. The upper windows align with those on the first story. While the deep second story windows are framed with marble and have small pediments - a possible reference to the Bowery Savings Bank - the third and fourth story windows are set into wide double height bays with metal ornamentation (now painted) that include rosettes, Greek key meanders, and the bank’s initials, set inside a ring of acanthus leaves. At the top of the fourth story, facing the Bowery, is a large cartouche. Set between the windows, this architectural feature identified the original owner with mirror image letter Bs and a single “NY.” A plaque, later replaced by metal lettering, was installed between the windows on the second floor. To draw attention to the upper stories, York & Sawyer employed a pair of cornices. The lower cornice is aligned with the cresting at the top of the Bowery Savings Bank. This impressive decorative element also gives emphasis to the Bowery Bank’s fifth story which stands a full floor higher than its neighbor. Each design is distinct; while the lower cornice is supported by corbels of different size, including some that extend down and serve a dual function as keystones, the upper cornice has dentil moldings that crown the multi-story piers. The most conspicuous feature they share is copper cresting, with upright acanthus leaves at the top of the fourth story and small circular finials on the fifth. The Grand Street facade is divided into five bays. Similar to the Bowery facade, the last (west) bay contains the entrance to the office floors. When the building first opened, to the right of the steps was a “tiny bronze door” that could be opened by watchmen to inspect the basement vaults, which were kept lighted throughout the night. At the time of completion, many decorative features were bronze. These elements were manufactured by the J.B. & J.M. Cornell Co. at Eleventh Avenue and 26th Street. At the entrance to the bank were originally two 12-foot-tall lighting fixtures set between a single wide step on stone pedestals. Each fixture was illuminated by a cluster of glass globes. There was also a pair of bronze doors surmounted by a horizontal panel with the bank’s name in metal capital letters and vertical grilles that were similar to the screens installed on some or all of the first-story windows. A similar metal was also used on a railing that enclosed the steps that led to the engine rooms in the basement. Probably located on Grand Street, it reportedly cost $1,000 and was “so placed that hundreds of passersby will brush against it every day.” History of the Bowery Bank of New York Building When the Bowery Bank opened in April 1902, the $500,000 structure was praised. The New York Times reported: In the new building, which is designed by York & Sawyer, is seen an outlay of elegant fittings and mural decorations, such as no other bank in the city can boast, and it is claimed by officials that this is the finest banking building in the United States. The New York Daily Tribune similarly observed that it “ranks with the best of our modern New York banks.” The interior, not part of the designation and most probably destroyed, had walls faced with Norwegian marble. Elmer E. Garnsey, a painter who provided murals for many early 20th century public interiors, decorated the ceiling. At the rear of the banking hall was the Director’s Office, paneled with mahogany. Above the banking floor were four stories of business offices. The entrance was located at 230 Grand Street. From a small marble lobby, tenants could reach these offices using stairs or a single elevator. Lighting was “either gas or electricity” and floors could be “divided to suit tenants,” who would include various architects, builders, insurance agents and, during the 1910s, the Federation of American Zionists, publisher of the Maccabean, a monthly magazine. In 1925, Amadeo Giannini, the American founder of the Bank of America, and the Bancaitaly Corporation, allied with the Bank d’Italia, purchased the Bowery Bank of New York. At the time of the merger, the Bowery Bank had more than $6 million in assets and was described as “one of the smaller institutions operating under the state charter,” while the East River National Bank, a subsidiary of Bancaitaly, had multiple branches in Brooklyn. The bank prospered during the late 1920s, opening additional offices in the Bronx and Brooklyn. As part of a subsequent merger, it became a branch of the National City Bank of New York in November 1931. The bank was renamed First National City Bank of New York in 1955, First National City Bank in 1962, and Citibank in March 1976. The elevated railway was demolished in 1955. A photograph taken in the late 1920s shows a flagpole had been installed on the second floor balcony and that by this decade the first- story grilles had been removed from the window facing the Bowery. In 1964, the building was described in the Historic American Buildings Survey as being “built to the highest specifications” and in “excellent” condition, with grilles and “elaborate light standards.” By 1969, both lighting fixtures had been removed but the stone pedestals remained. The first story windows were significantly altered in c. 1992 to create retail storefronts with access from the sidewalk. The Grand Street entrance was also probably altered, and in subsequent years canopies and awnings were installed above the storefronts, disguising many of the original architectural features. Description The Bowery Bank Building is located at the northwest corner of the Bowery and Grand Street in Manhattan. Five stories tall, the elevations are primarily a pinkish white marble, except for the water table which is pink granite. Historic Features: Granite water table, marble-faced neo-classical elevations, segmental-arched window openings, keystones, corbels, cornices, copper cresting on cornice between fourth and fifth stories, copper cresting at top of fifth story, low mansard roof, metalwork in double-height window bays on the Bowery and Grand Street, granite step to original bank entrance on Bowery, granite steps to Grand Street entrance. Alterations: Grand Street, first-story windows converted to storefronts, awnings, letters attached to corner; Grand Street entrance, metal and glass door enframements, signage above historic and subsequent doors, address number, signage to left of entrance; corner, awnings wrap around corner at two levels; Bowery, metal and glass entrance at 126 Bowery, first-story awnings, letters attached to stone balcony, air-conditioning units in various windows; roof, bulkhead at west end; railings around stairs to basement. Most elements that were attached to the facade have been removed, including metal lettering, the twin lighting fixtures that were installed on pedestals that flanked the entrance, the first-story window grilles, and probably the original bank doors. - From the 2012 NYCLPC Landmark Designation Report

thegoldensieve.com

 

A good thing continues

 

Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.

The A7/r game-changer?

 

In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.

The RX1 is smaller and more discrete

 

This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.

The D800 has important functional advantages

 

On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.

Okay, so what is different from the last review?

 

For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.

My “be-there” camera

 

The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.

The family camera

 

I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.

Where to go from here.

 

So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.

Midtown Manhattan, New York City, New York, United States

  

The CBS Building was built in 1961-64 as the headquarters for one of America's three historic radio and television networks. The last completed work designed by architect Eero Saarinen, it is one of New York's premier post-World-War-II-era skyscrapers and one of the country's great works of modern architecture. Saarinen's goal was to build what he called "the simplest skyscraper in New York." At the height of the popularity of the steel-cage office building, Saarinen designed the CBS Building as New York's first postwar reinforced concrete skyscraper. The 38-story tower is sheathed in dark gray granite, with gray-tinted vision glass - earning the building the sobriquet "Black Rock." When seen directly, the tower's bays appear open, with relatively narrow granite piers alternating with relatively narrow window bays of single sheets of plate glass, but when viewed from afar and necessarily at an angle, the V-shape of the piers effectively eclipses the view of the glass, creating the effect of a gray granite slab.

 

The austerity of the tower derives in part from its dark gray color and the almost complete absence of interruptions in the facades. Saarinen placed the main entrances on West 52nd and West 53rd Streets, rather than on Sixth Avenue, creating the effect of an absolutely pure granite slab on Sixth Avenue. Ground floor commercial uses are set behind the gray glass, making them barely visible from outside. Eero Saarinen died suddenly in 1961, leaving to his office the task of supervising the construction of the CBS

 

Building. Kevin Roche and John Dinkeioo, among others, oversaw the completion of the project from 1961 to 1964. The building remains the corporate headquarters of CBS.

 

DESCRIPTION AND ANALYSIS

 

William S. Paley and the Columbia Broadcasting System2

 

CBS traces its origins to the United Independent Broadcasters, a fledgling radio station network that was an early rival to NBC (the National Broadcasting Company), the network created by RCA's David Sarnoff. UIB incorporated in 1927, and, following its purchase later that year by the Columbia Phonograph Company, changed its name to the Columbia Phonograph Broadcasting System, making its radio debut on September 18. When Columbia, unenthusiastic about future prospects, sold back the broadcasting rights to UIB's owners a few months later, the sale included permission to use the "Columbia" name — hence the "Columbia Broadcasting System.7' In 1928, William S. Paley, connected by marriage to one of the company's owners, used half a million dollars from his portion of the proceeds from the sale of his family's Congress Cigar business to buy a 51 percent interest in the network. He took the title of president, and proceeded over the next half century to build CBS into one of the nation's major media conglomerates.

 

CBS's chief rival for its first several decades of existence remained the much larger NBC.3 RCA's Sarnoff initially saw NBC as a free service intended to encourage the purchase of RCA-manufactured radios. Paley, with only radio programming to sell, focused on the promotion of radio advertising and the creation of saleable programs. By the end of 1928, CBS had 47 affiliates. Highlights of CBS's growth over the following years, from tiny upstart to major network, include the creation of CBS's news department; experiments in television broadcasting as early as 1931 (the first regularly scheduled in the nation, even though almost no one could watch); putting the young Bing Crosby on the radio in 1932, opposite NBC's Amos 'n Andy; broadcasting the School of the Air to some six million children starting in 1934; initiating the Lux Radio Theater in 1935, with Helen Hayes in its first offering; in 1936 bringing the popular Major Bowes' amateur hour to the radio, as well as comedians Bums and Allen, Eddie Cantor, and Ed Wynn, while at the same time inaugurating the Columbia Workshop for serious drama, including the works of W.H. Auden, Stephen Vincent Benet, Maxwell Anderson and Edna St. Vincent Millay; and the infamous 1938 broadcast of Orson Welles' production, "War of the Worlds." During World War II, CBS emerged as a major news broadcaster, led by foreign correspondents William L. Shirer and

 

Edward R. Murrow, with Charles Collingwood reporting on D-day from the Normandy beaches.

 

After the war ended, William S. Paley became chairman of the board, while his protege Frank Stanton became president. CBS moved into television, broadcasting Arthur Godfrey, Ed Sullivan, I Love Lucy, and Walter Cronkite's series You Are There. In 1951, the CBS "eye" was developed as the network's television trademark. By the late 1950s, three decades after its founding, CBS had become firmly ensconced as a national institution. In 1966, the year following CBS's move into the new tower at 51 West 52nd Street, the corporation had over 17,000 employees, earned $64.1 million, and had net sales of over $800 million.

 

As early as 1929, while still in UIB's old offices in the Paramount Building, CBS had acquired Steinway Hall on West 57th Street for concert broadcasts.

 

Later that year, Paley arranged the move to offices at 485 Madison Avenue. As early as 1935, CBS planned a new headquarters to designs by prominent modem architect William Lescaze, but it was never built. ^By the late 1950s, however, a diversifying CBS had grown enormously, acquiring interests in record manufacturing, television sets, musical instruments, publishing and a talent agency. The network invested in theatrical productions, and for a time owned the New York Yankees baseball team. CBS operations occupied space in a number of buildings scattered around Manhattan. Paley decided that the company's rented space on Madison Avenue was neither adequate to the network's needs nor helpful to its image, and determined to build a new headquarters that could compete in architectural prestige with NBC's headquarters at Rockefeller Center. In his words: "I think we were . . . determined that if we went ahead on our own building for CBS, it would have to be of the highest aesthetic quality obtainable."4

 

Paley thought Park Avenue had "too cold a feeling," and considered Madison Avenue "too narrow to display good architecture." Nothing was available on Fifth Avenue. He found a site on the east side of Sixth Avenue between West 52nd and West 53rd Streets, just two blocks west of the network's old Madison Avenue headquarters, and a few blocks north of NBC, in an area Paley characterized as "emerging as the newest important business area in midtown."5 CBS bought the site in 1960, and hired Eero Saarinen, one of the most prestigious and best-known modem architects of the

 

day, to design the building. To PaJey, "not only was he one of this country's outstanding architects, he was also a creative artist in the deepest sense, and he won us over by the force of his personality, imagination and practicality."6

 

Eero Saarinen Associates

 

The American saga of the remarkable Saarinen family is framed by two skyscrapers, the Chicago Tribune Tower and the CBS Building. Eliel Saarinen's second-prize entry in the Chicago Tribune Tower competition of 1922 had enormous influence on subsequent skyscraper design; its critical American success helped convince the Finnish architect to bring his family, including his son Eero, to the United States. Eero Saarinen's CBS Building, the only skyscraper by either man to have been built, was completed only after its designer's untimely death, and has become recognized as one of the country's major monuments of modern skyscraper design.

 

A master architect of the mid-twentieth century, Eero Saarinen (1910-1961) was groomed from childhood to be a successful designer by his parents, textile artist Loja Gesellius Saarinen, and highly regarded international architect (Gottlieb) Eliel Saarinen (1873-1950). Eliel's early career is best remembered for his Helsinki Railroad Station (1904-c.1913, with Herman Gesellius) which successfully demonstrates his sympathies with the Arts and Crafts movement. The Saarinen family immigrated to the United States in 1923, but visited Finland annually. Eliel contributed significantly to the creation of the Cranbrook School and Academy of Art, a complex of children's schools and an advanced-level art academy, located at Bloomfield Hills, north of Detroit. Cranbrook was devoted to every field of design — textiles, metal work, architecture, and city planning. Eliel designed several buildings there, including the Cranbrook School for Boys (1924-30) and the Kingswood School for Girls (1929-30).

 

The latter project exemplifies the Arts and Crafts ideal of collaboration between the fine and applied arts: while Eliel oversaw all aspects of design, Loja designed and wove fabrics (in association with the Cranbrook Looms), Eero designed furniture, and his sister, Eva-Lisa, assisted with selecting wall and ceiling treatments.

 

During the early 1930s, Eero studied sculpture at the Parisian Academie de la Grand Chaumiere, completed a Bachelor of Fine Arts in the Beaux-A rts-oriented architecture program at Yale University, and toured Europe and Egypt on a travel fellowship, during which time he was influenced by the architecture of Erich Mendelsohn and Alvar Aalto — before joining his father's firm in 1936. Together, the Saarinens produced the much-praised Crow Island School (1939-40, with Perkins, Wheeler & Will) in Winnetka, Illinois. Eero entered many design competitions, and won several prizes. He collaborated with designer Charles O. Eames on the scheme for a molded plywood chair which won the Organic Design in Home Furnishings competition (1940-41), sponsored by the Museum of Modern Art. Recognized from that point on as an important furniture designer, Saarinen produced many designs for the Knoll furniture company, best represented by his Womb chair (1946-48) and Nos. 71 and 72 chair series (c.1956).

 

Eero Saarinen has been credited with developing the innovative "systems approach" to design; he carefully analyzed each problem, and usually relied on modern technology to find a unique form and structure to express a concept architecturally. As a result, each of his designs has a certain wholeness about it; he claimed to be concerned with the "esthetics of the whole organism" and sought an "expressive architecture, an antiassembly-Iine architecture," stating "each building should be as distinctive as each person should."8 The commission which firmly established his architectural career was the General Motors Technical Center (1945-56, with Smith, Hinchman & Grylls) in Warren, Michigan. Though the initial designs for the Center were begun in association with his father, the final scheme was largely Eero's.

 

The complex is ruled by its strictly modular design (structure, partitions, and mechanical systems are fully integrated) and features such technological innovations as neoprene window gaskets and walls of thin insulated panels sheathed in porcelainized sheet metal; the architect also added brightly colored brick surfaces and his signature element, a reflecting pool. During the GM project, the elder Saarinen died and Eero formed a successor firm', Eero Saarinen & Associates. An intensely devoted and methodical worker — he worked 365 days a year, according to his chief of design, Kevin Roche — Eero produced a number of buildings which have become American landmarks.

 

These include his Jefferson National Expansion Memorial (designed 1948, completed 1964), the famous parabolic arch in St. Louis, Missouri; the Kresge Auditorium and Chapel (1953-56, with Anderson & Beckwith), geometrically-derived enclosures highlighting different materials, at the Massachusetts Institute of Technology in Cambridge; the David S. Ingalls Hockey Rink (1956-59), the undulating concrete roof of which expresses the exhilaration of a hockey game, at Yale University in New Haven; and two soaring reinforced concrete masterpieces associated with flight: the Trans World Airlines Flight Center9 (1956-62) at New York (now J.F.K.) International Airport — probably his most renowned design — and Dulles Airport (1958-62, with Ammann & Whitney) in Chantilly, Virginia. The last three commissions were completed after Saarinen's death in 1961, as was his other prominent New York project, the somber, granite-clad Columbia Broadcasting System (CBS) Headquarters (1961-64) on Sixth Avenue between West 52nd and 53rd Streets.

 

Saarinen's buildings received extensive publicity in the press, and he was given several prestigious awards. Though many architects and architectural writers sympathetic to the International Style criticized Saarinen's work as lacking consistency, his oeuvre has withstood the test of time: by 1993, six of his designs had received the American Institute of Architects' 25-Year Award for "exemplifying] design of enduring significance." These include the Crow Island School, GM Technical Center, and Dulles Airport.10 Saarinen's successor firm, Kevin Roche John Dinkeloo Associates, founded by his colleagues, has been a significant force in American architecture during the second half of this century.

 

The CBS Building

 

Both Saarinen and Paley wanted a skyscraper that would differ from the established International Style of the 1950s represented by such New York towers as Skidmore, Owings & Merrill's Lever House and Mies van der Rohe's Seagram Building." "After all," said Saarinen's widow Aline, "that's why they came to Eero and not to Skidmore."'

 

Saarinen experimented with models showing various possible shapes for the tower, ranging from the wedding-cake profile encouraged by then existing zoning laws to various square and rectangular towers rising from a plaza.13 Saarinen eventually settled on a rectangular tower, as he wrote to Paley in March of 1961:

 

I think I now have a really good scheme for C.B.S. The design is the simplest conceivable rectangular free-standing sheer tower. The vertically of the tower is emphasized by the relief made by the triangular piers between the windows. These piers start at the pavement and soar up 424 feet. Its beauty will be, I believe, that it will be the simplest skyscraper statement in New York.14 Paley later went out to Saarinen's office in Detroit to see a model, which he at first didn't like. On a second visit, however, Paley changed his mind: "I saw what I had first thought of as austerity really came through as strong, exquisite, ageless beauty. In July, 1961 I decided to go ahead with Saarinen."15

 

John Dinkeloo later said that Saarinen had been "especially excited about this design."16 In Saarinen's words: "I wanted a building that would be a soaring thing. I think Louis Sullivan was right to want the skyscraper to be a soaring thing. I wanted a building that would stand firmly on the ground and would grow straight up. Your eyes should be led up to comprehend a building as a whole thing."17

 

After Saarinen's sudden death, Paley met with chief designer Kevin Roche, and decided to continue with the firm. Paley was an actively involved client. In the words of a contemporary critic, Eric Larrabee: "Where CBS left off and Saarinen began is now difficult to determine, especially since he was the kind of architect . . . who . . . cared less who got credit for an idea than whether his own ideas prevailed."18 Of the building's completion, Paley wrote; "Participating in the creation of Black Rock was one of the great sources of satisfaction of my life."19

 

The premise of Saarinen's design, a freestanding tower in a plaza, was bound up in changes then being proposed to New York City's zoning laws. The 1916 zoning ordinance, in effect until 1961, had encouraged progressively set-back towers. The new ordinance encouraged tall towers set back in plazas. Saarinen met with the architects and planners working out the new zoning proposal, including Gordon Bunshaft of Skidmore, Owings & Merrill, and James Felt of the New York City Planning Commission, to explain the economics of his tower. CBS wasn't just one of the first towers to be built under the new zoning; Saarinen's designs and calculations for the tower actually helped shape the new regulations.20 In the words of New York Times architectural critic Ada Louise Huxtable, the CBS Building "set the shape and standard for New York building today."21

 

Saarinen designed the CBS Building as New York's first postwar skyscraper built of reinforced concrete.22 Instead of an internal cage, from which to hang a seemingly weightless glass curtain wall, he designed exterior walls of triangular, weight-bearing concrete piers, which together with the interior service and elevator core support the building. By using the piers, he emphasized its verticality. Instead of a flat facade, Saarinen made the concrete piers in a three-dimensional projecting triangular V-shape, with the glass recessed behind them. And instead of creating a transparent glass, shiny steel, or aluminum facade, he sheathed the concrete piers in dark gray granite, and filled in the intervening window bays with gray-tinted vision glass. Instead of the illusion of a glass box, he created the illusion of a slab of dark granite — earning the building the sobriquet "Black Rock."

 

The five-foot widths of piers and window bays tied into the modular design of the entire structure. Each entrance on West 52nd and 53rd Street fit into one bay, and was planned with revolving doors, which required a minimum of five feet. Five-foot modules also met the needs of then standard office furniture arrangements.23 The precise dimensions of pier and window were carefully adjusted. Roche did a series of mock-ups of the proposed building in New Rochelle, New York, and Paley wrote he "must have gone out to New Rochelle at least thirty times to study the various mock-ups . . . when Roche, Stanton and I went out to look at [the mock-up], we realized that the difference between the window area and the column area was not right. Your eye could tell you that. We started then to change it. We got down to talking about a quarter of an inch or a sixteenth of an inch. We must have put up five or six different-sized mock-ups before we finally got it right."24

 

The use of dark gray granite was proposed by Saarinen, but the final selection was made by his successors. His widow suggested that Saarinen was thinking of executives in dark gray suits.25 Dinkeioo believed that dark stone projected strength better than glass.26 Saarinen himself wrote: "A dark building seemed more quiet and dignified and appropriate to this site."27 Paley recalls deciding in favor of true granite after rejecting a synthetic version, because "in the long run it would be worth it. The building would be built to last a hundred years. Granite would retain its beauty as long as the building stood." After examining granite from Africa, Japan, Norway, Sweden, Germany, France, Spain, Portugal, and the United States, they settled on Canadian Black granite from the Robitaille family quarry in Alma, Quebec.28

 

Saarinen's triangular piers and modular design created a three-dimensional study in architectural illusion. From directly across Sixth Avenue, for example, the tower's bays appear open, with five- foot-wide granite piers alternating with five-foot-wide window bays of single sheets of plate glass. When viewed from afar and necessarily at an angle, the V-shape of the piers effectively eclipses the view of the glass, creating the effect of a gray granite slab. The bays of any of the building's four sides thus appear to open directly in front of a viewer but appear to close up like a vertical Venetian blind to the right or left. As the viewer walks along the sidewalk, the bays appear to open and close in succession, rather like an accordion (as contemporary critics remarked). This optical effect was described by one contemporary writer as "trompe l'oeil,"29 and by another as "op-arch."30 Saarinen, describing the effect in motion, wrote: "We had learned the way a changing relief gives life to a facade."31

 

The austerity of the CBS Building derives in part from the almost complete absence of interruptions in the facades. There are no setbacks. The main entrances on the side streets are through doors set discreetly within bays and integrated into the facade's design. Saarinen created the effect of a pure glass and granite slab on Sixth Avenue. The commercial spaces at the ground floor, set behind gray glass, are rendered practically invisible from outside, with very discreet signage.32

 

Though he put the CBS Building in a sunken plaza, Saarinen tried in some measure to respect the street wall of Sixth Avenue, keeping the plaza small and siting the tower a little off-center. In the architect's words:

 

We tried to place the building on the site so that we could have a plaza and still not destroy the street line. A tower should not be tied in with lower street buildings. It should stand alone with air and light around it. A plaza is a very necessary thing in a city. It lets people sit in the sun and look at the sky. A plaza allows a building to be seen. Our buildings should be seen, because they are monuments of our time. But ... we have to remember the street line and we have to remember the space between is as important as the towers. These arrangements should be orderly and beautiful.33

 

Critical Reaction

 

CBS staff started moving into the new building at the end of 1964.34 That same year, the Architectural League of New York cited the building as one of eight recent CBS projects across the country built to high architectural standards, and

 

awarded a medal to CBS president Frank Stanton for "significant contributions and effective encouragement of the role of the arts in business and industry."35 Reporting on the award, the New York Times wrote: "Seeking to promote its corporate image, Columbia insisted on high architectural standards and employed some of the country's leading architects to achieve them."36

 

The following year, CBS won a Bronze Plaque from New York's Municipal Art Society for "an outstanding example of architecture befitting the city of New York." Stanton, accepting the award, explained: "The things we build should be beautiful for no better reason than man has created them as part of his work and places them beside the creation of nature as part of his life. The only goal for men who build should be to make nothing that is less than beautiful. In planning for the building, the one controlling idea from the outset was that we wanted a building actively, insistently, inexorably on the cutting edge in the evolution of the skyscraper."37

 

Critical reaction has varied somewhat, but the CBS Building has been generally accepted as one of New York's premier post-World-War-II-era skyscrapers and one of the country's great works of modern architecture. Even before its completion, the Times wrote that, "if buildings were rated like television programs, the Columbia Broadcasting System would have a new hit."38

 

The CBS Building represented a departure from the International Style, and some critics didn't understand that. Some thought that the building's piers did not explicitly express their function — an important concept in International Style design — because they didn't narrow towards the top (where they supported less weight than at the bottom).39 Yet others praised the piers as "directly expressed from plaza to sky, rather than concealed behind curtain walls as in neighboring office buildings."40 Similarly, Saarinen's biographer, Allan Temko, writing in 1962, faulted the tower for not growing "visually more open and light as it rises," and commented that though it had a plaza, the plaza was "scarcely more than a protective border for the freestanding tower, and is in no sense a real civic space."41 Temko opined that if Saarinen had had the opportunity to design additional skyscrapers, they would have overcome such weaknesses, making his untimely death "one of the cultural disasters of modern times."

 

Critic Bethami Probst, unhappy that the tower didn't "soar," compared it unfavorably with the Seagram Building ("If Seagram is the Rolls Royce of recent skyscrapers, CBS must be content with

 

being in the Bentley class (which is by no means bad)"). Nevertheless, in the critic's final judgment, "CBS is a building to be reckoned with, a powerful, brooding presence."43

 

David Jacobs described the impact of the opening-closing facades on a "fascinated" public: "They stroll back and forth, walk slowly then quickly, back and forth again, playing peek-a-boo." Though he found the CBS Building "impersonal and forbidding, and from close by, downright overwhelming," he noted that European cathedrals were overwhelming too, and he judged the building "a marvelous contribution to the city of New York, a splendid monument to the business of communications and the art of architecture."43

 

Ada Louise Huxtable, writing in 1966, thought the public was less favorable to the building than the critics: "The dark dignity that appeals to architectural sophisticates puts off the public, which tends to reject it as funereal," ascribing this fault to the corruption of "the public eye" which "takes bright and shiny as synonymous with new and good." Huxtable herself judged CBS "a building, in the true, classic sense: a complete design in which technology, function and esthetics are conceived and executed integrally for its purpose." She faulted the building's interior for being out of character with the exterior (it was not designed by Saarinen or his successor firm), but ultimately found the CBS Building a "first-rate work of architecture" and "an extraordinarily impressive structure."44

 

Description

 

The CBS Building is a freestanding, 38-story reinforced-concrete tower, sheathed in dark gray granite and gray-tinted vision glass, rising straight up 490 feet without setbacks. The tower, with a 135-foot by 160-foot footprint, is placed within a sunken plaza that occupies the entire western end of the block bounded by Fifth and Sixth Avenues and West 52nd and 53rd Streets on a site that is 200 feet-10 inches by 216 feet-10 inches. The tower occupies approximately 60 percent of the plaza's area and is set slightly towards the east. The plaza is set five steps (approximately three and a half feet) below the sidewalk level at Sixth Avenue, six steps below on West 52nd Street, seven steps below on West 53rd Street, and slopes downward to the east.

 

The building is rectangular in plan, with twelve bays on the eastern and western facades and fifteen bays on the wider northern and southern facades. Each facade is composed of five-foot-wide piers faced in "Canadian Black" granite flanking large, five-foot-wide panes of glass framed in bronze-

 

finished aluminum. The windows are 19 feet-10 inches high on the ground floor above bronze-finished aluminum sills, and nine feet high on the upper floors. At the first level above the ground floor, instead of glass the bays contain grilles.

 

The profile of each pier is a projecting triangular or V-shape; at each of the building's four corners the "V"s meet to form double-width piers, creating the effect of chamfered corners. Ground floor commercial uses behind gray glass are rendered practically invisible from outside.

 

There is no entrance to the CBS Building on Sixth Avenue. The building has fourteen ground floor entrances, seven on both West 52nd and West 53rd Streets. The entrances, containing three door types, are fitted unobtrusively into the narrow bays.

 

The entrances in the seven central bays on the West 52nd Street side are arranged as follows from west to east: 1) A single-door entry, flanked by sidelights, providing entrance to the commercial space; above it is a simple, modestly projecting light box. 2) A double-door entry with a simple, modestly projecting light box above. 3, 4, 5) Each has a revolving door with a simple, modestly projecting light box above with the raised letters "CBS." 6) A double-door entry with a simple, modestly projecting light box above. 7) A double-door entry with a simple, modestly projecting light box above, serving as entrance to a restaurant; there is a second simple, modestly projecting light box above, at the top of the bay. Discreet lettering on several windows identifies the restaurant. The single doors, double doors, revolving doors and their housings, and projecting light boxes are all of the same bronze-finished aluminum.

 

There are seven entrances and one window bay in the central bays on the West 53rd Street side, arranged as follows from west to east: 1) A double-door entry to the commercial space, with a simple, modestly projecting light box. 2) A double-door entry with a simple, modestly projecting light box above. 3, 4, 5) Revolving-door entrances with simple, modestly projecting light boxes above with the raised letters "CBS." 6) A double-door entry with a simple, modestly projecting light box above. 7) A window of the restaurant, with a simple, modestly projecting light box above it and

 

an additional simple, modestly projecting light box at the top of the bay. 8) A double-door entrance to the restaurant, with an angled projecting marquee with backlit letters indicating the restaurant's name, "China Grill."

 

The material of the doors and light boxes is the same as that used on West 52nd Street.

 

At the east elevation, the ground floor bays are as follows from south to north: 1, 2, 3) Glass windows. 4, 5, 6) Bronze-finished aluminum with a double door. 7) Bronze-finished aluminum with a grille. 8) Bronze-finished aluminum. 9) A glass double door, with bronze-finished aluminum above. 10,11,12) Glass windows for the restaurant. There are simple, modestly projecting light boxes in the 2nd, 5th, 8th and 11th bays.

 

The plaza is paved in a gray granite slightly lighter than that on the building's piers. The plaza is sunken below street level, forming a gray granite retaining wall with parapets and vertical slits on the inside faces. Wide steps lead down to the plaza from each street side; a narrower staircase with eight steps leads down to the plaza from the east.

 

Each set of steps has two freestanding bronze-finished aluminum railings. A ramp (not original) with a dark bronze-finished aluminum handrail has been added to the steps from West 52nd Street. The ends of the parapets above the retaining walls have polished bronze letters and numerals (replacements of the original) flanking the steps: "CBS" on Sixth Avenue, "51" for the address on West 52nd Street, and "52" for the address on West 53rd Street.

 

Planters with trees have been placed in the plaza, planters with bushes have been placed on the parapets of the retaining wall. At the eastern end of the plaza, the retaining wall has been enlarged, and includes a wheelchair-access ramp (a later addition), and a staircase leading down to a "messenger entrance." A portion of the tax lot has been excluded from the Landmark Site and has been re-landscaped as part of the plaza for the adjacent building to the east.

 

- From the 1997 NYCLPC Landmark Designation Report

WESTCHESTER - Transients escape as fire consumes vacant auto dealership.

 

At 2:27 am the Los Angeles Fire department and the Los Angeles County Fire Department were called to 5208 West Centinela Avenue. Arriving fire companies were met with thick black smoke and flames billowing from a two story commercial structure. Three squatters were immediately spotted and rescued from the roof of the burning structure. After descending the fire department ladders the unidentified civilians fled the scene.

 

166 Firefighters under the command of Assistant Chief Ralph Terrazas battled this intense and stubborn fire. A partial roof collapse trapping flames beneath heavy debris made containment extremely challenging. A methodical and systematic approach completely extinguished the fire in three hours. © Photo by Steve Gentry.

 

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Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 3.2, Shutter speed of 1/320 and Focal Length of 70.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 17:04 EST PM

thegoldensieve.com

 

A good thing continues

 

Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.

The A7/r game-changer?

 

In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.

The RX1 is smaller and more discrete

 

This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.

The D800 has important functional advantages

 

On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.

Okay, so what is different from the last review?

 

For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.

My “be-there” camera

 

The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.

The family camera

 

I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.

Where to go from here.

 

So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.

Upper East Side, Manhattan, New York City, New York, United States.

 

Fire Engine Company 39 and Ladder Company 16 Station House is an outstanding example of late nineteenth century civic architecture. Built in 1884-86, the six-story Romanesque Revival structure was designed by N. LeBrun & Son for the headquarters of the New York Fire Department and to provide fire protection in a neighborhood that was experiencing considerable growth and change. Between 1879 and 1894 LeBrun was closely associated with the department, designing more than 40 buildings. Unlike many modest mid-block firehouses, the East 67th Street building served multiple functions, providing space for two fire companies, the offices of the Commissioners, and various departmental bureaux. Restored in 1992, the East 67th Street building provides a superb centerpiece in one of New York's best-preserved rows of nineteenth century public architecture.'

 

The Fire Department of the City of New York

 

From its first days as a Dutch colony to the end of the Civil War, New York City relied on unpaid volunteers to help extinguish fires. While under Dutch rule all men were expected to participate, under the British, a force of thirty volunteers was organized by the General Assembly of the Colony in 1737 to operate two Newsham hand pumpers that had been recently imported from London. After the Revolution, a few tentative steps were taken to give fire- fighting a more professional character. Authorized by the New York State Legislature in 1798, the Volunteer Fire Department of the City of New York was placed under the supervision of a paid engineer and six subordinates.

 

Over the next half century, the city grew and so did the number of volunteer firemen, which increased from 600 in 1800 to more than 4,000 by I860. Despite growing numbers, the department was frequently criticized for its poor performance. Disapproval was especially strong during the Civil War, a period when many members of the force resigned to serve in the Union Army, leaving the department without sufficient personnel. Under such circumstances, interest grew in creating a paid, stable, professional force - like that of the Metropolitan Police District. Advocates maintained, based on recent experience in Albany, Boston, Buffalo, Cincinnati, New Orleans, and London, a paid force would be better equipped to protect the city from fires.

 

On May 30, 1865, the New York State Legislature established the Metropolitan Fire District, comprising the cities of New York and Brooklyn. The act abolished the old volunteer system and created the Metropolitan Fire Department, under the jurisdiction of the state government. This action had two goals: first, to improve fire protection, and second, to limit the influence of the long-dominant Tammany political machine, whose members frequently used service in the department to advance their private careers. Results were immediate; by the end of 1865, thousands of volunteers had retired and numerous companies were disbanded, to be replaced by thirty-three engine companies and twelve ladder companies operated by a force of five hundred men. Furthermore, in an effort to filter out any lingering Tammany influence, the Commissioners banned firehouse construction for five years.

 

Under Genera! Alexander T. Shaler, who served as President of the Board of Fire Commissioners between 1867 and 1870, many important changes were initiated. A former volunteer fireman and decorated Civil War general who served in the prestigious Seventh Regiment, he reorganized the department "according to a military model in which specialization, discipline, and merit were encouraged by a system of daily advisory orders, trials for disobedience, and ranks.'"* Despite the Metropolitan Fire Department's generally excellent record, with a steady decline in annual property losses, the City sought and regained permanent control of the department under the Charter of 1870 (commonly known as the "Tweed Charter").

 

During the 1860s and 1870s there was increasing pressure to expand and improve service. Not only did the city nearly double in size with the annexation of the western portion of the Bronx in 1874, but the growing number of tall buildings placed new demands on the practice of fire-fighting. In response, funds were spent to upgrade the department's equipment and training. An improved fire alarm telegraph was purchased, as well as gas floodlights, taller ladders, and steam engines with increased pumping pressure for all companies. Classes in the use of this equipment and life-saving techniques were organized, as well as a School of Instruction for Foremen and Engineers of steamers in 1878 and a school for uniformed men in 1883.^ Support for the paid department remained strong which resulted in increased public funding and growing pride among members of the force.

 

History of the Site

 

Since the late seventeenth century much of East 67th Street has been publicly owned. Despite discussion by the Common Council to lease the so-called "Dove Lots" for private development in April 1806/ by 1813 the blocks between Third and Fifth Avenue and from East 66th to East 68th Street had been set aside as a fifteen-acre square named after the former Secretary of the Treasury, Alexander Hamilton. Following the Civil War, however, the park was closed. Streets were soon extended through the site and lots in the western half were sold to developers.

 

During the 1870s the Upper East Side underwent considerable development. While much of the area did become residential, the blocks east of Park Avenue between 66th Street and 68th Street retained their public and institutional character. Describing the site of the future headquarters, the New reported: "The neighborhood is a constant wonder to visitors to New-York because of the great group of public institutions — medical, charitable, and educational — that are built within a stone's throw of one another. These included Presbyterian, Mount Sinai and German Hospitals, the Normal College, Grammar School No. 76, and the Asylum for the Improved Instruction of Deaf-mutes, as well as the Lenox Library and the Seventh Regiment Armory (1877-79, Charles W. Clinton, a designated New York City Landmark).

 

Engine Company No. 39 was organized in a small building on the site in March 1875. Although the Upper East Side would become one of Manhattan's most prestigious neighborhoods by the turn of the century, at this time it was a district marked by strong contrasts. On the blocks immediately to the west of the firehouse were mostly private residences, and to the east, tenements, cigar factories, and "streets infested with gangs of the worst ruffians in the city."^

 

These differences may have been viewed as an obstacle to future residential development. East 67th street, consequently, became a logical location for the new department headquarters. Not only would such a public project serve to stabilize the neighborhood, but in terms of geography and access the area had other advantages as well. Set midway between the more-established districts and fire companies to the south and the new suburban companies in upper Manhattan and the Bronx, the slightly elevated site on Lenox Hill afforded extensive views in all directions. Furthermore, it was well- served by public transportation. With a station of the Third Avenue elevated train at the comer of East 67th Street, the site was convenient for both staff and visitors.

 

The Fire Department Headquarters

 

The East 67th Street structure was the first and only headquarters building constructed by the New York City Fire Department.^ It replaced the former Firemen's Hall, a three-story Italianate structure designed by the architects Field & Correjaat 155-157 Mercer Street (1853- 54, SoHo-Cast Iron Historic District).'" Built by the City of New York for the use of New York Hose Company No. 5 and Lafayette Hook and Ladder Company No. 6, it served primarily as gathering place for various groups associated with the volunteer department. The upper stories, which were known for their opulent interiors, contained a library, meeting hall, and committee rooms."

 

The Metropolitan Fire Department converted Firemen's Hall into its headquarters in 1865, replacing an earlier facility at 21 Elizabeth Street. This relocation symbolized a new era. No longer associated with the excesses of past political administrations, the building became an administrative center, with departmental offices, a library for the firemen, and a room for the fire alarm telegraph which had been repaired and moved from City Hall in 1867.

 

From Mercer Street the department directed an extremely ambitious building campaign. Although the Metropolitan Fire Department's ban on the construction of new firehouses ended in 1870, it took nearly a decade until building actually resumed. In 1884, approximately midway in the campaign, a design for the East 67th Street site was approved. The need for a much larger facility had been evident for more than a decade, but not until 1879 when a series of fires in the dry goods district came dangerously close to destroying the headquarters, was such a move justified.'^ Advocates were particularly concerned about the fate of the telegraph, a communications system that linked ail engine houses, watch towers, and fireboxes to the central headquarters.

 

Mayor Franklin Edson, who strongly supported relocation, addressed the problem in 1883 noting "the rather anomalous and startling fact that the Headquarters of the Fire Department is itself in danger of destruction at any time, the consequences of which might be disastrous beyond measure . . . the first step should be to provide a triplicate set of communicating apparatus and place it in a secure spot, and the next should be to erect a suitable fire-proof building, with proper provision in it for the important and growing Bureau of Inspection of Buildings, which is now crowded into a single room of this admirably arranged and methodically conducted Department."'^

 

Napoleon LeBrun & Sons, Architect

 

Napoleon Eugene Charles LeBrun (1821- 1901) was chosen to design the new headquarters, an architect known for both his ecclesiastical commissions and pioneering fireproof designs. Bom to French immigrant parents in Philadelphia, as a teenager he apprenticed with Thomas Ustick Walter (1804-87), the Philadelphia architect responsible for numerous public commissions in the neo-classical style, including Girard College of Orphans (Philadelphia, 1833-48), the United States Capitol Extension (Washington, D.C., 1851) and dome (Washington, D.C.,1856). In 1841 LeBrun established his own firm, designing numerous churches and public buildings in the Philadelphia area, including the Roman Catholic Cathedral of SS. Peter and Paul (1846-64) and the Academy of Music (1852-57). After 1864 LeBrun relocated his firm to New York City where he received a number of high-profile commissions, including Masonic Hall (1870-75. demolished), at the southeast comer of 23rd Street and Sixth Avenue.

 

Chosen by public competition, the French Second Empire design did much to establish the firm's reputation.'^

 

Over the next three decades, LeBrun designed a great variety of structures, including churches, tenements, and several office towers.'^ Among his clients, the New York City Fire Department proved to be the most significant. Contact began in 1879 when LeBrun served as the AIA representative on the Board of Examiners of the Building Bureau of the Fire Department. Between 1879 and 1894, he received more than forty commissions from the department, including numerous engine houses in Manhattan and the Bronx, a warehouse, and fire pier. It was during these productive years that both of his sons, Pierre LeBrun and Michel LeBrun joined the firm and its name was subsequently altered to N. LeBrun & Son (and later. Sons) to acknowledge their increasing roles.

 

The Building

 

Among the four public buildings that presently stand on East 67th Street between

 

Lexington and Third Avenues, the Fire Department's headquarters was the first (and largest) to be completed. Construction commenced in 1884 and lasted nearly two years. Engine Company No. 39, newly organized Ladder Company 16,'^ and various departmental agencies were consolidated in the new "practically fire-proof building. As completed, the building and its furnishings cost more than $175,000.^ Most of the interior was devoted to administrative offices, which for several years had leased additional space on Mercer Street, and training facilities, that had been "kindly permitted the use of an unoccupied building at the foot of West One Hundred and Fifty-eighth street."'^

 

LeBrun, who is credited with standardizing firehouse design in New York, organized the building's plan as follows: the ground floor was used primarily to store fire-fighting apparatus for the engine companies and the second floor provided rooms for the uniformed men, including their dormitory, offices, and kitchen. Though most of the ground floor was set aside for the two companies, to the right at the base of the tower was the entrance to the fire headquarters. An hydraulic elevator and stairs led up to the third floor to the offices of the Commissioners and the Chief of the Department and staffs. On the fourth floor was the Department Attorney and the Bureau of Inspection of Buildings; the fifth was assigned to the Bureau of Combustibles, the School of Instruction and the Medical Officers; and the sixth provided space for the Fire Alarm Telegraph and the Bureau of the Fire Marshall.^

 

From the eastern side of the top floor, one ascended to the belfry by stairs, and then to the observatory, where a "fireman detailed as watchman constantly scanned the horizon for evidences of fire."*' Based more on fire-fighting tradition than actual use, the decision to erect a 150 foot-tall tower had much to do with civic imagery, symbolizing the department and its important public function. Within two decades of the building's construction, nearby apartment towers would start to obscure the observatory's once-panoramic views.

 

During his long career, LeBrun worked in a number of popular styles. As in many of his department commissions, he employed Romanesque Revival details — round-arched windows, drip molds, and organic ornament — juxtaposed against smooth red brick. Although the decoration owed a clear debt to H. H. Richardson and his much-praised public work of the late 1870s and after, Engine Company No. 39 also incorporated French Second Empire motifs such as the mansard roof and the pyramidally-capped tower. As one of LeBrun's earliest office buildings, the elevation has a somewhat tentative quality, reflecting the much- discussed Tribune Building (1873-75, demolished) designed by Richard Morris Hunt. Although LeBrun did not use neo-Grec detailing as Hunt did in his design, he did model its composition after the Renaissance palazzo formula the noted architect helped develop, placing a brick tower on a two-story brownstone base capped by a mansard roof pierced by dormers. In addition, both projects featured a tower with look-out balcony.

 

A reception was held to celebrate the building's completion in April 1887. Guests were invited to inspect the oak interiors, climb the tower, and watch a display in the rear yard of the latest fire-fighting techniques. 77te Record and GMidf commented: "The Fire Department headquarters would be worthy of praise whoever had built it. but it deserves special praise as having been done under the direction of a municipal department and giving the taxpayers something worth tooking at for their money.""

 

Subsequent History

 

By 1914 the headquarters had outgrown the upper floors of the East 67th Street building, retocating its offices to the eleventh floor of the recently completed Municipal Building at 1 Centre Street. The fire telegraph, however, remained until it was moved to Central Park in 1922. For much of the twentieth century the building served as the department's training center. With the introduction of motorized vehicles in 1907^ the stables at the rear were eliminated and replaced by a small brick extension. In 1913 several structures were constructed in the yard facing East 68th Street, including a sprinkler and ventilating test house. In 1949 the former headquarters' most prominent feature, the lookout tower, was removed from the top of the eastern bay.

 

During the early 1970s the city proposed to demolish the firehouse and adjacent police precinct station house and incorporate.them into the planned expansion of Hunter College designed by the architect Ulrich Franzen. In January 1980 the Landmarks Commission designated four buildings on the block as New York City Landmarks. Although the Board of Estimate overturned the designation of the firehouse and police precinct in June 1980, the various agencies involved did agree to meet to discuss alternative strategies. In 1982, a new scheme, designed by the Stein Partnership, was approved that preserved the facades of both structures while constructing a new combined facility behind them?* As completed in 1992, the building's facade was completely restored, including cast-stone replacements for its greatly deteriorated brownstone.

 

Although the building still serves its original function as an Engine and Ladder Company, the floors once occupied by the Commissioners and their staff are now connected to, and used by, the 19th Police Precinct, linked by a five-story granite structure set back thirty feet from the sidewalk. Originally used as a narrow passage to the rear yard on 68th Street, this recessed addition incorporates a new, third, apparatus bay for Fire Department vehicles.

 

Building Description

 

Fire Engine Company 39 and Ladder Company 16 Station house is a six-story Romanesque Revival structure with a red brick, gray granite, and brownstone facade. The first two floors, covered with rusticated brownstone, house the companies. The first floor has two equal-sized apparatus bays surfaced in cast iron that have been painted a bright red. Each garage door incorporates a pair of single-pane windows. The pier between the doors is also clad in cast iron and includes five narrow vertical panels with three leaf-like decorative motifs near the top. Above each entrance is an I-beam decorated with a string of five raised rosettes framed by a pair of salamander heads facing inward, a common symbol for fire fighters.^ Installed above these beams are two signs of nearly identical size with gold capital lettering on a black background that identify each company.

 

On the right side of the first floor is the former entrance to the fire department headquarters marked by an elaborate stone portico supported by a pair of pink polished granite columns set on engaged granite pedestals. The upper portion, which underwent extensive restoration, features an inset segmental arch crowned by checkerboard patterning. The swirling engaged basket capitals that spring from the freestanding columns are particularly elaborate, as are the wave flame motifs just above the capitals. Between the columns an office and firehouse entry has been inserted, consisting of a single door on the left and an iron bay window with visible rivets supported by a small girder set at an angle. Above this addition is an I-beam which creates a transom over which an open grille covers an air-conditioner. All of these 1992 additions have been painted dark green to match the window moldings on each of the five floors above.

 

The second floor, which is also used by the companies, has two sets of three double-hung windows aligned above the vehicular entrances. Between each set a flagpole has been installed. In the right-hand bay, above the original entrance to the headquarters, is a single window framed by a pair of recessed tablets, each surrounded by billet moldings arranged in the shape of an octagon with floral designs at each comer. The right inscription reads:

 

FIRE/ DEPARTMENT/ HEADQUARTERS/ LIFE-SAVING CORPS/ & SCHOOL OF/ PROBATION/ ORGANIZED/ 1882

 

The left:

 

A.D. 1886/ COMMISSIONERS/ HENRY D. PURROY/ PRESIDENT/ RICHARD CROKER/ ELWARD SMITH/ N.LEBRUN & SON/ ARCHITECTS

 

A continuous dentil molding divides the second and third stories, marking a clear division between the facilities for the companies and the former headquarters. As in the floor below, there are three groups of windows, all with brownstone surrounds and a continuous zigzag molding which ends in blocks carved with organic ornament at the impost level. The right- hand bay has a single round-arch window with a stone transom through which the zigzag molding intersects. Twisted columns frame this double- hung window, and its spandrel is decorated with a checkerboard panel. The much larger arched tripartite windows that align with the firehouse entries, have floral moldings on the surrounds and generously sized oval balconies which rest on piers that divide the second story windows below. Each balustrade, which was restored in 1992, has polished granite colonnettes with elaborate brownstone capitals and bases.

 

The fourth story has five double-hung windows of identical size. A single round-arch window is positioned at right, while two sets of paired round-arch windows are aligned above the apparatus bays. Each of these windows has brownstone sills terminating in bosses and identical lintels with raised billet work.

 

On the fifth floor are seven double-hung windows with brownstone arches. There is a single window in the right-hand bay, while the rest are arranged in groups of three, divided by four gray polished granite columns with brownstone capitals and bases. A continuous brownstone sill, terminating in bosses, extends beneath the six windows.

 

The top story is divided into two parts: the base that remains from the demolished tower, and a heavily ornamented cornice above which a dark slate roof rises. The mansard roof incorporates two brownstone dormers, each lighted by a pair of round-arch windows set beneath a triangular pediment carved with a diagonal grid of ornament and topped by circular medallions. Along the left edge of the slate roof, supported by the cornice, is a brownstone chimney. The tower bay at right has double- arched windows with a brownstone sill. Just above these windows is the building's highest point, marked by an unomamented brownstone cornice and a row of four small brownstone corbels.

 

The building's east and west elevations are almost entirely new brick construction. The east elevation, which is not visible, except from a narrow passage between the firehouse and synagogue, has two pairs of flat-arched tripartite windows with projecting gray granite sills that are located close to the front of the building on the fifth and sixth floors, as well as four windows set in row between the second and third floors.

 

To the west, set back approximately thirty feet from the street is a gray granite addition, linking the firehouse and police station. The ground level serves as a third apparatus bay for the firehouse, while the floors above, each with a set of two windows, are used by the police precinct. AH of these windows are set behind fiat-arched screens with transoms, except for the fifth floor which are shaped like rectangles. Here the west elevation of the firehouse is clearly visible, clad entirely in red brick. There is a single window at the second, third, and fourth levels, each with projecting granite sills. On the fourth floor is a second, smaller window in which a security camera has been installed.

 

- From the 1998 NYCLPC Landmark Designation Report

Juvenile Indian Cuckoo (Cuculus micropterus)

  

The generic name derives from the onomatopoeic name for a cuckoo, based on the bird's call, in Old English = coccou or cukkow, in French = coucou and in Greek = kokkux or kokkyx. The specific name results from a combination of two Greek words: micro = little or very small and ptero = wing. Together, the name literally means "small winged cuckoo" which is reflected in an early common name.

 

Other common names: Short-winged Cuckoo, Indian Hawk-Cuckoo.

 

Taxonomy: Cuculus micropterus Gould 1837, Himalayas.

 

Sub-species & Distribution: Two races are recognised, both of which are found in this region:

 

micropterus Gould 1837, Himalayas. Ranges from India, Nepal, Bangladesh, Sri Lanka, Myanmar and Thailand, east to E China, Mongolia, Korea and E Russia. It winters south to the Andamans and Nicobars, West Malaysia, Singapore, Sumatra, Java, Borneo and the Philippines.

 

concretus S. Müller 1845, Borneo. This smaller resident form is found in Borneo, Sumatra and Java. It is also found from Phattalung, in S Thailand, south to Johore (Medway & Wells 1976).

 

Similar species: It is very similar to two other Cuculus species. The Common Cuckoo C. canorus does not occur in this region. The Oriental Cuckoo C. saturatus is a rare winter visitor and passage migrant. Both these birds do not have a broad black sub-terminal band, tipped with white, on the tail.

 

Size: 12½ to 13" (31 to 33 cm). Sexes differ slightly.

 

Description: Male: Head and neck dark ashy-grey tinged with brown, paler on the lores, chin, throat and upper breast. Remaining upperparts, scapulars and wing coverts dark ashy-brown, the primaries and secondaries similar but barred with white along the inner webs. Tail dark ashy-brown with a broad black sub-terminal band and tipped with white. Basally, the tail feathers have a series of alternating white and black bands, more on the outer feathers than the inner ones, often with white or rufous notches along both edges. Lower breast and abdomen creamy-white, boldly barred with dark blackish-brown bars, the vent, axillaries, undertail and underwing coverts more narrowly barred with blackish-brown.

 

Female: Very like the male, with the throat and breast tinged with rufous.

 

Immature birds: Juvenile birds appear largely white to rufous-white with dark brown bars on the head, nape, upper back, chin, throat, sides of neck and breast, the face and ear coverts less heavily marked. Remaining upperparts, including wing coverts more rufous, the feathers broadly edged with rufous-buff and tipped with white. Lower breast, belly and vent pale buffy-white, broadly barred with blackish-brown, more so on the flanks. The tail appears largely to be barred with rufous and black, with more numerous bars than adult have. They, too, like the adults, have a broad black sub-terminal tail band.

 

Gradually, the white and rufous edges on the upperparts disappear, the throat and upper breast turn ashy, and the bars on the underparts become more defined. Within five months of leaving the nest, the young are almost in adult plumage, the rufous band across the upper breast being ultimately lost except in females. However, they often have rufous or whitish tips to the flight feathers and upperwing coverts (Oates & Blanford 1895).

 

Soft parts: Iris dark yellowish-brown, orbital ring orange-yellow. Upper mandible black, lower mandible greenish-horn tipped with black, gape orange-yellow. Legs and feet orange-yellow, claws black.

 

Status, Habitat & Behaviour: A common winter visitor and passage migrant, is found throughout Singapore, the earliest date being 14th September, the latest date 19th May (Wang & Hails 2007). Between these two dates, this bird has not been recorded in Singapore, which suggests that C. m. concretus, the resident form found south to Johore in west Malaysia, does not occur in Singapore.

 

The nominate form is a vagrant to Borneo where C. m. concretus, a smaller and darker form, is also the resident race (Smythies & Davison 1999), up to 1100 m (3300 feet) in the Kelabit Highlands of Sarawak. In Sabah, it is found in primary, peatswamp and logged forests (Sheldon et. al. 2001).

 

In Singapore, it is more usually found in forests, along forest edges, in mangroves, secondary scrub and, occasionally, in gardens and parks (Wang & Hails 2007). In West Malaysia, both resident and migrant forms are found to 760 m (2500 feet), in the canopy of lowland and hill forests, as well as on offshore islands (Medway & Wells 1976). In India and Nepal, where it is very common in summer, it can be found in fairly wooded country to 2300 m, even up to 3700 m (Baker 1927).

 

A solitary and shy bird, it is generally found singly and easily overlooked, keeping to the treetops or flying hawk-like over the forest canopy. During the breeding season, however, it becomes very vocal, calling incessantly during the early hours of dawn and again at dusk, far into the night, especially on moonlit nights, even calling on the wing during courtship chases (Ali & Ripley 1969).

 

Food: It mainly eats caterpillars, ants, locustids, fruit, butterflies and grasshoppers (Smythies 1968), sometimes coming down to the ground, hopping about awkwardly to pick up insects from within the leaf litter (Ali & Ripley 1969). In Singapore, it was found feeding at a termite hatch (Subaraj 2008).

 

Voice and Calls: In India, its most common four-note call is a fine melodious pleasing whistle from which evolved some of its popular local names, Bo-kota-ko in Bengali (Jerdon 1862), Kyphulpakka (Oates & Blanford 1895), and the "Broken Pekoe" bird in English (Baker & Inglis 1930). The call has also been variously annotated by several other authors: as "crossword puzzle" (Ali & Ripley 1969), a far-carrying wa-wa-wa-wu (Medway & Wells 1976), a flute-like ko-ko-ta-ko (King, Woodcock & Dickinson 1975), as reminiscent of the beginning of Beethoven's 5th symphony (Sheldon et. al. 2001). There are several other interpretations of its call (Tsang 2010).

 

In the Kelabit Highlands of Sarawak, its call was continuously heard in late February over sub-montane forest at 900 m (3000 feet). The loud four-note call was fairly musical, koh-koh-koh-kok, the first three syllables on the same pitch, the third sometimes higher, the last note always lower. It was persistently uttered for several minutes at a time, each burst of four-note lasting slightly over one second with about two seconds between each burst, occasional with a fifteen to thirty seconds break between each set of notes. Once or twice, it made a more rounded fluting and musical variation of the same four notes. Most of the time, the call was echoed, almost synchronously, by a four-note squeaking call, much more shrill and softer, sometimes in a lower key (Sreedharan 2005).

 

It usually calls from the tops of tall trees or when flying from tree to tree (Jerdon 1862), and much more persistently during breeding season, often calling all night long (Smythies 1968). The call is uttered intermittently for hours on end, for more than five minutes at a stretch, at about 23 calls per minute, and, while courting a nearby female, the wings are dropped, the tail spread wide and erected, the bird pivoting from side to side (Ali & Ripley 1969).

 

Breeding: Very little is known of the breeding of this Cuckoo. It is brood parasitic and, instead of building its own nest, it surreptitiously lays eggs in the nests of several host species, its choice of victim varying from location to location. The nominate form, C. m. micropterus, does not breed in our area. The local form, C. m. concretus breeds in peninsular Malaysia.

 

The breeding season varies from May to July in northern China, March to August in India, January to June in Burma and January to August in the Malay Peninsula.

 

In India, the host species are said to be Streaked Laughing-Thrush Garrulax lineatus, White-bellied Redstart Hodgsonius phoenicuroides, Indian Bush-Chat Saxicola torquata and Indian Blue Robin Luscinia brunnea, all of which lay blue or bluish eggs, similar to those of this Cuckoo (Baker 1927).

 

Additionally, it is said to victimise species such as Fork-tailed Drongo Dicrurus adsimilis, Ashy Drongo Dicrurus leucophaeus but other species, "in whose nests putative eggs of this cuckoo are claimed to have been found, or have been observed feeding its young", include the Asian Paradise-flycatcher Terpsiphone paradisi, the Streaked Spiderhunter Arachnothera magna and, in Sri Lanka, the Black-hooded Oriole Oriolus xanthornus (Ali & Ripley 1969).

 

Given the difficulty in determining the identity of young cuckoos, it is hardly surprising that these two authors have included a caveat, stating that the available data on the breeding biology of this bird, indeed, of all parasitic cuckoos are, "by and large, meagre, and of dubious authenticity. Most accounts are vague, largely conjectural and often contradictory. The whole subject calls for a more methodical de novo re-investigation".

 

Currently, this picture (Ong 2008), of a juvenile Indian Cuckoo fostered by a Black-and-yellow Broadbill Eurylaimus ochromalus provides the only incontrovertible evidence of a confirmed host in Malaysia. In Amurland, Siberia, its main host is the Brown Shrike Lanius cristatus, the cuckoo's eggs hatching in about 12 days, two to three days sooner than that of the shrike (Ali & Ripley 1969).

 

Oviduct eggs from females are said to be of two types: whitish with small reddish-brown dots, closely matching drongo eggs, or pale greyish-blue, like those of the Turdinae, the eggs c. 25 x 19 mm in size (Ali & Ripley 1969).

 

Migration: Seventeen night-flying migrants, attributed to C. m. micropterus, were caught at Fraser's Hill from 10th October to 27th November and 7th to 14th April between 1966 and 1969. Birds on passage were also collected in November at One Fathom Bank Lighthouse and on Rembia and Pisang islands. None of these belonged to the resident races have been handled (Medway & Wells 1976).

 

Moult: In the Family Cuculidae, moult strategy is quite complex, occasionally suspended. The primaries moult from two centres, P1 to P4 descendantly, P5 to P10 ascendantly. The secondaries, too, have two centres, S1 to S5 centripetally, S6 to S9 ascendant and alternate. Tail moult is irregular. They moult twice annually, undergoing a partial summer moult and a complete winter moult which finishes in early spring (Baker 1993).

 

None of the migrant birds from the off-shore sources were in moult. The migrants caught at Fraser's Hill in autumn were all in post-juvenile or adult plumage, indicating that the annual moult is completed in the breeding grounds, before they reach winter quarters (Medway & Wells 1976).

  

Unable to walk, a runner collapses to the ground in pain after finishing the 2011 Iron Man Korea Jeju International Triathlon on July 3rd, 2011.

 

"A TEST OF ENDURANCE"

 

Wave after wave of swimmers raced across the sand and dove headfirst into the sea. Arms churned as bodies sliced through the waves in a long line that went as far as my eyes could see. Then, they turned around and began to make their way back to the beach. Heads bobbed to the side as they took in fresh breaths of air. Finally, great splashes of water sprayed everywhere as the swimmers reached the shore, a mixture of grim determination and cheerful smiles etched across their faces. A series of cheers erupted from the crowd waiting for them on the beach as they raced across the sand once again to their bikes for the next leg of the competition.

 

This was the scene at Hwasun Beach where nearly 1100 men and women took part in the 2011 Iron Man Korea Jeju Triathlon. Participants swam 3.8 km, bicycled 180.2 km, and ran 42.2 km for a total of 226.195 km on a difficult course that wound its way over rolling hills between Daejeong-Eup and the World Cup stadium in Seogwipo.

 

Cyclists worked their way methodically up a steep incline just outside of Jungmun and then coasted down a hill, thumbs up as they passed me, clearly relieved to finish that part of the race. But, the hardest part was yet to come: a full marathon that would test the will and endurance of these athletes.

 

Five grueling hours later, the end in sight, Balazs Csoke from Hungary, using all his remaining strength, dragged his exhausted body across the finish line, completing the race in 8 hours, 48 minutes, and 18 seconds. Korean hopeful Yeun Sik Ham finished strong, clocking in at 9:36:02 while Kate Bevilaqua of Australia was the top woman, finishing the race in 9 hours, 39 minutes, and 42 seconds.

 

www.jejuweekly.com/news/articleView.html?idxno=1730

 

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More images from the race www.flickr.com/photos/dmacs_photos/sets/72157627105746342/

 

Slideshow www.flickr.com/photos/dmacs_photos/sets/72157627105746342...

 

Please view my stream LARGE on black:

 

DMac 5D Mark II's photos on Flickriver

 

Follow me on Twitter @ twitter.com/#!/dmac5dmark2

 

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Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 3.5, Shutter speed of 1/250 and Focal Length of 70.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 16:36 EST PM

Saturday, February 11, 2012.Recap: No. 15 C'Town 87, No. 19 WC 69.By Brendan Hall..CHARLESTOWN, Mass. -- At this time last year, Charlestown made the trek West, down Route 146, to deliver a haymaker to a Whitinsville Christian squad considered the state's tallest lineup. ..This afternoon, the Crusaders came East to Bunker Hill, with a different look for the Townies -- smaller, quicker, more surgical -- and the result was very nearly a different outcome. The Crusaders hung with Charlestown through three quarters, before the Townies pulled away in the fourth, outscoring Whitinsville 31-14 in the final frame en route to an 87-69 victory. .."That team's very good, I thought that was the best shooting team we saw," Charlestown head coach Edson Cardoso said. "They're very well balanced, with a real good point guard, big man, two-guard, so I knew coming into this game it was going to be a battle. I told the guys, 'You're going to see a team like this in the state tournament, eventually down the line." ..The Townies (14-3), played just seven due to health (Jawhari Dawan-Abdullah, stomach bug) and off the court issues (Gary Braham, suspension). But they saw all five of their regular starters reach double-figures, with senior point guard Rony Fernandez (26 points, four assists) leading the way. Senior forward Tyrik Jackson (12 points, 13 rebounds) came up big on the glass again, while Tyrese Hoxter (16 points, seven assists), Omar Orriols (13 points) and Iser Barnes (12) contributed some big shots from the perimeter to keep the defense stretched out. ..But early on, the Crusaders (12-2) gave them fits with the methodical way they broke through the Townie's 2-3 zone with some of the most disciplined and precise ball movement they'd seen in a while. Junior point guard Colin Richey (23 points) funneled the offense down to the baseline, finding a player planted right in the heart of the zone and kicking to either the baseline or either wing. ..Whitinsville shot nearly 40 percent from the field, getting good looks from the short side from Tyler VandenAkker (12 points, eight rebounds) and Jesse Dykstra. Grant Brown (10 points) came up with some big shots from the perimeter as well. .."We decided to extend a little bit more on the short corner, because they hit about four shots in a row from the short corner," Cardoso said. "We also decided to have the opposite guard extend even more on shooter No. 2 (Tim Dufficey). So we made some extensions in the second half, did a little better job -- not a great job, but it helped us get the victory." ..To start the fourth quarter, Barnes completed a 6-0 run by ripping the ball out of his defender's hands at midcourt and landing a breakaway layup. A few possessions later, Hoxter found Jackson underneath the rim for an easy tip-in and 68-59 advantage. ..Then with 1:37 to go, sophomore Taris Wilson hit the first of two monster breakaway slams, this one making it 76-63 to essentially put the game in hand. ..Hot from the field: The Townies outrebounded the Crusaders 16-7 in the final frame, giving way to many key transition points that helped ice the lead and the win. From the glass, WC still held a slim 35-33 advantage. ..But down at the other end, the Townies had a terrific night from the field, shooting nearly 58 percent overall. That was aided by a 7-for-17 effort from three-point range, including three 3's each from Fernandez and Orriols. ..Praise for Richey: Last season, New Mission head coach Cory McCarthy was throwing around high praise for the then-sophomore Richey, calling him "a suburban kid that plays urban". ..Consider Cardoso another Boston City League coach that's a fan. .."He's tough," Cardoso said. "He's one of the toughest guards coming out of his league, and I think he's going give a lot of teams problems in the state tournament, because how do you stop a kid like that?" ..Turning point? Following last season's loss to Charlestown in its home gym, WC coach Jeff Bajema greeted his players in the locker room and told them, "Guys, we can win states." ..Sure enough, the Crusaders never lost another game the rest of the way, picking up their first Division 3 state title since 2005 at the DCU Center in Worcester. After that game, Bajema spoke to reporters about how much the whitewashing by Charlestown seasoned them for what to expect in the state tournament. ..Given how much more competitive the Crusaders were this time around, could this be seen as another momentum shift? .."Hopefully, a game like this will lead us to better things," Bajema said. "But we've got a tough one Tuesday (against Holy Name), so we'll see."

 

Shot at ISO 1600, Aperture of 3.2, Shutter speed of 1/400 and Focal Length of 70.0 mm

Taken with a 24-70mm F2.8 ZA SSM lens and processed by Aperture 3.2.2 on Saturday February-11-2012 16:31 EST PM