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This abridgement of Universal's 12-episode serial Buck Rogers stars Buster Crabbe as Dick Calkins' famed comic-strip space adventurer. Buck and Buddy (Jackie Moran) and are recruited to battle against modernistic gangster Killer Kane (Anthony Warde), by Wilma Deering (Constance Moore) and Dr. Huer (C. Montague Shaw). The duo travels to Saturn to get help in their mission, and after Buck and Buddy quell the internal struggles of the Saturnians, Buck triumphs over Killer Kane and his cosmic thugs.
Planet Outlaws Feature link: youtu.be/UD3xKy42KUY
Link to all 12 Serial Episodes:
www.youtube.com/watch?v=iTtc-u3zFGk&feature=share&...
Starring Buster Crabbe, Constance Moore, Jackie Moran, Jack Mulhall, Anthony Warde, C. Montague Shaw, Guy Usher, William Gould, Philson Ahn. Directed by Ford Beebe, Saul A. Goodkind.
Buck Rogers and Buddy Wade are in the middle of a trans-polar dirigible flight when they are caught in a blizzard and crash. Buddy then releases a special gas to keep them in suspended animation until a rescue party can arrive. However, an avalanche covers the craft and the two are in suspended animation for 500 years. When they are found, they awake to find out that the world has been taken over by the outlaw army of Killer Kane. Along with Lieutenant Wilma Deering, Buck and Buddy join in the fight to overthrow Kane and with the help of Prince Tallen of Saturn and his forces, they eventually do and Earth is free of Kane's grip.
This is actually a pretty enjoyable serial, but it seems doomed to be forever overshadowed by the much superior Flash Gordon trilogy. Universal brought BUCK ROGERS out in 1939, in between their own chapterplays FLASH GORDON'S TRIP TO MARS and FLASH GORDON CONQUERS THE UNIVERSE; it also starred Buster Crabbe (but with his natural dark hair instead of Flash's golden curls) and although it is filled with space ships and weird gadgets, BUCK ROGERS lacks most of the elements that gave the Flash serials their intense emotional draw.
For one thing, there is none of the strong sexual charge that the Flash series had. Instead of nubile Dale Arden and sultry Princess Aura both competing for the hero's attention while the villain openly lusted for the heroine, Buck's epic featured Constance Moore as Col. Wilma Deering. Now, Moore is perfectly fine in her role, but she is after all a soldier in the resistance army and not a fair damsel in distress. She has a nice moment when she wrests a ray gun away from a guard and blasts her way out of her cell, but she and Buck seem to be merely chums on the same side.
Also, although BUCK ROGERS has plenty of futuristic gadgets (rayguns and buzzing spaceships which shoot sparks from their backs, teleportation tubes and invisibility rays), there are no grotesque monsters or nonhuman alien races on view. Prisoners have remarkably goofy metal helmets strapped on which turn them into docile zombies, and there are these homely goons called Zuggs moping around, but that's hardly as fascinating as Lion Men and Clay People and horned apes (that Orangapoid critter).
What's ironic about all this is that the comic strip BUCK ROGERS by Philip Nolan and Richard Calkins started in 1929, was immensely popular for many years and it success inspired the creation of Flash. Yet the Flash strip benefitted from the genius of Alex Raymond, one of the all-time great cartoon artists, and it produced stunning visual images (from the samples of Buck's strip I've seen, it was imaginative enough but pretty crude and drab). This contrast carried over to the serials.
Buck Rogers and his sidekick Buddy Wade (Jackie Moran) are pilots who crash in the Arctic in1938 and survive for 500 years because the 'Nirvano' gas they were carrying put them in a state of suspended animation. They both seem to adapt to waking up in the year 2424 pretty well, where I would think most people would be so traumatized it would take a while to adjust. In this dystopic future, the Earth is ruled by a mega-gangster called Killer Kane (another setback; Anthony Warde would be okay as a crimelord but he just doesn't have the imposing presence to convince me this guy can dominate an entire planet).
Luckily, Buck and Buddy have been found by the small resistance movement hopelessly trying to overthrow Kane from their hidden city. Here is Dr Huer (C. Montague Shaw, who I just saw in the UNDERSEA KINGDOM doing the same gig with his wild inventions) and Wilma Deering leading the good fight. For some reason I missed, everyone immediately puts all their trust in Buck and he pretty much takes over. (Maybe he's just one of those charismatic alpha males or something.) Most of the serial involves desperate trips back and forth to Saturn to enlist the aid of the isolationist Saturnians, and this means running the blockade of Kane's ships. The usual fistfights and explosions and captures and escapes normal for this sort of situation ensue. It's a lot of fun if you take it on its own terms, with a strong linear plot and likeable heroes, but it really never kicks into high gear and seems a bit drab.
It's interesting that some (but not all) of the Saturnians are played by Asian actors. Prince Tallen, who gets caught up in most of the fun, was portrayed by a very young Philson Ahn, and I thought for years this was the same guy who in 1972 impressed us as the head of the Shaolin Temple in TV's KUNG FU (he taught all the styles, really amazing if you think about it). Turns out that was Phiip Ahn, Philson's brother.
Dir: Ford Beebe and Saul A. Goodkind - 12 Chapters
BUCK ROGERS (1939): Director Ford Beebe, who also worked on Flash Gordon (1938), came straight from The Phantom Creeps (1939) and then went back to finish Flash Gordon Conquers The Universe (1940). Buck Rogers stars Buster Crabbe or, as his family knew him, Lawrence. Now, Lawrence ‘Larry’ ‘Buster’ Crabbe had previously starred in two Flash Gordon serials, a couple of Tarzan movies and a long string of westerns, so it was only natural for Universal to decide he was perfect as the heroic Buck Rogers, aka that blonde guy who saves the universe but isn’t Flash Gordon. Actually, Buster Crabbe wasn’t the first actor to play Buck Rogers in-the-flesh, so to speak.
That honour goes to an unknown man who played Buck in a Virginia department store, instead of their regular Santa Claus. Santa was off conquering Martians at the time, I think it was an exchange program of sorts. It strikes me that Buck Rogers is not unlike a male fantasy come to life. Just think of it – Buck gets to take a nice five-hundred-year-long sleep-in. With my busy schedule, I’m ecstatic if I can get twenty minutes nap on the weekend. Then, when he wakes up, Buck is the smartest, most dynamic guy around. In reality he’d be treated like something that’s escaped from the zoo. And finally, everyone needs Buck to go on exciting missions, fight the bad guys, test exotic equipment and crash rocket ships – out of the half-dozen flights Buck makes, he only lands successfully once. It’s easy to see the bullet cars used in the movie are the same ones from Flash Gordon’s Trip To Mars (1938), and even the script is rather suspect.
Planet Outlaws
This film is actually a compilation of the Buck Rogers serials that ran originally in 1939. The cliffhanger endings and recap beginnings have been edited out to make it flow better -- with partial success. Some new footage was shot for the introduction and summary. At the opening, there are some newspaper headlines about jets chasing flying discs, and the obligatory checkered V2 launch, etc. to add a modern segue. After that, it's pure 1939.
Sci-fi movie technology had come a long way in the 14 years since Buck's debut. Audiences had grown accustomed to sleek and pointy rockets, flying saucers, strange aliens, etc. The Buck Rogers style world-of-the-future must have looked oddly quaint. (if not laughable) Just why Universal Pictures thought re-releasing Buck Rogers was a good idea is a bit of a mystery. Kids who were 8 or so back in 1939 would be young adults in '53. Perhaps Universal was banking on those young adults would buy tickets for a trip down memory lane.
Plot Synopsis
After a bit of modern ('53) footage about the wonders of modern progress and "flying disks," the old serial begins. Rogers and Buddy crashed in the arctic while on a transpolar flight. They were in suspended animation due to the cold and a vague gas. A patrol finds them in the year 2500 and revives them. In the world of 2500, a despot named Killer Kane is trying to take over the world. The forces of good are holed up in the "hidden city." Buck arranges a decoy maneuver to elude Kane's patrol ships. They fly to the planet Saturn in hopes of finding help. On Saturn, the Council sees Rogers and party as the rebels, and Kane as the rule of law. Rogers et al, escape Saturn, return to earth and seek to disrupt Kane's bamboozling of Prince Tallen, the Saturnian representative. Rogers sneaks into Kane's city, interrupts the treaty signing and convinces Tallen of Kane's evil by revealing Kane's "robot battalion" (slaves wearing mind-control helmets). Rogers and Tallen get to Saturn and the treaty is signed. Rogers escapes Kane's patrols via the Dissolvo Ray which rendered them invisible. Rogers and the war council plan for war. Rogers enlists the Saturnians to help. Meanwhile, Rogers sneaks into Kane's city and de-zombies Minister Krenco to lead an uprising of freed robot-slave-prisoners. Rogers storms Kane's palace and puts one of the robo-slave helmets on Kane. The End
The industrial vision of the future is delightful to watch. The heavily mechanical look of everything is so radically different from the sleek rockets and glowing acrylic audiences were growing accustomed to. The space ships look like they were built at locomotive factories or steamship yards. They spew roman-candle sparks and smoke and buzz as they fly. There are no computers, no radar or electronics. It's a fascinating snapshot of what pre-electronic-age people thought the future would be like.
When originally released in 1939, the Killer Kane character was a thinly disguised allusion to Hitler. In 1953, Kane was intended to represent a communist despot. It wasn't as tidy a fit. The narrator sums it up voicing a hope that scientists will develop the means for men to stand up to today's dictators and make the world safe for democracy. In the early 50s, there's little question of who they meant.
Simple Colors -- One endearing trait of Buck Rogers is the simplicity of the characterizations. The good guys do nothing but good. The bad guys are pure bad. The good guys are crack pilots and sharp shooters and tough as nails. The bad guys do nothing but bad, have trouble hitting a flying barn and are easily knocked out with one punch.
Industrial Baroque -- Somewhat like the baroque era's compulsion to decorate every square inch with swirls and filigree, Industrial Baroque sought to fill every space with heavy-duty hardware. The sets, and especially the rocket interiors are like flying boiler rooms. Valves, pipes, levers, dials, wheels, large flashing light bulbs. To look more "high tech" in the 30s meant cramming in more industrial hardware. Buck Rogers' ships show more affinity for Captain Nemo "steampunk" than the proto-space-age of the 50s.
Family Resemblance -- There is a noticeable similarity in the sets and costumes of Flash Gordon, Buck Rogers. Even serials of the early 50s, like Captain Video and the various Rocketman serials, look more like Flash and Buck than George Pal. The industrial baroque look and costuming are distinctive, making them almost a sub-genre of their own. In that regard, Buck has a timelessness.
Another take on the story and additional background info.
A round-the-world dirigible flight commanded by US Air Force officer Buck Rogers (Buster Crabbe) encounters dangerously stormy weather above the Himalayas; said weather, along with disastrous panic on the part of Rogers’ crewmen, causes the aircraft to crash. The cowardly crewmen ditch the ship and meet quick ends, but Rogers and young Buddy Wade (Jackie Moran), son of the aircraft’s designer, survive the crash. The pair use a cylinder of “Nirvano” gas to place themselves into suspended animation until a rescue party can reach them, but an avalanche buries the ship and all searches prove fruitless; the dirigible and its two dormant inhabitants remain beneath rocks and snow for five hundred years.
Finally, in the year 2440, a spaceship unearths the wreck, and its pilots restore Buck and Buddy to consciousness. The holdovers from the 20th century soon learn that their rescuers are soldiers from the “Hidden City,” a pocket of resistance to the super-criminal who is ruling the 24th-century Earth–one “Killer” Kane (Anthony Warde). Rogers immediately pledges his support to Air Marshal Kragg (William Gould) and Scientist-General Dr. Huer (C. Montague Shaw), the leaders of the Hidden City exiles, and is soon en route to Saturn, hoping to convince that planet’s rulers to aid the Hidden City in freeing the Earth from Kane’s tyranny. To cement the Saturian alliance, Buck must battle Kane’s legions at every step of the way, with able assistance from Buddy and from Dr. Huer’s trusted aide Lieutenant Wilma Deering (Constance Moore).
Ever since its original release, Buck Rogers has stood in the shadow of Universal’s Flash Gordon serials; the studio encouraged such association by casting Flash Gordon star Buster Crabbe as a different sci-fi hero, obviously hoping that the chapterplay would capitalize on the goodwill generated by Flash Gordon and Flash Gordon’s Trip to Mars. The serial did succeed in reminding audiences of the Flash outings–but it reminded them of how much they had liked those serials and forced inevitable comparisons that were not in Rogers’ favor. Universal’s plans for a second Buck Rogers serial were quickly scrapped when the first outing failed to please matinee audiences; the intended Buck sequel was then replaced on the studio’s production schedule by–what else?–a third Flash Gordon chapterplay. Even today, Buck is typically dismissed by fans as a pale echo of the great Gordon serials.
It’s easy to see why Buck Rogers came as a disappointment to audiences expecting an outing in the Flash Gordon tradition. Its production design, while futuristic, is less quirky and more uniform than that of the Gordons; there are no monsters and no weird semi-human races besides the rather uninteresting Zuggs; there are also no supporting characters as developed or as interesting as Dr. Zarkov, Ming, King Vultan, the Clay King, Princess Aura, Prince Barin, and other major figures in the Flash Gordon chapterplays. And yet, taken on its own terms, Buck Rogers is far from a failure; it does not approach the Flash Gordon trilogy in quality, but then few serials do.
Buck Rogers’ script, by former Mascot writers Norman Hall and Ray Trampe, is fast-moving and manages to avoid repetition for most of its length. The trip to Saturn, the attempts to convince Saturnian leader Prince Tallen (Philson Ahn) of the justice of the Hidden City’s cause, the subsequent rescue of Tallen from Kane’s city, the second journey to Saturn to cement the alliance, and the attempts of Kane’s henchman Laska (Henry Brandon) to sabotage it–all these incidents keep the narrative flowing very nicely for the serial’s first eight chapters. As in many of Trampe and Hall’s Mascot scripts, however, the writers seem to run out of plot before the serial’s end. While Chapters Nine and Ten remain interesting (with Buck being converted into a hypnotized robot, Buddy’s rescue of the hero, and an infiltration of the Hidden City by one of Kane’s men), the last two chapters have a definite wheel-spinning feel to them, throwing in a redundant third trip to Saturn and an unneeded flashback sequence.
The last-chapter climax is also something of a disappointment, with Kane being overthrown quickly and undramatically instead of being definitively crushed. Here, Trampe and Hall seem to have been leaving room for the sequel that never came and trying to avoid duplicating the dramatic but very final destruction of MIng which closed the first Flash Gordon serial (and which needed to be explained away in the second). The other weak spot of the scripting is Buck and Buddy’s rather calm reaction when they realize that their old world (and everyone in it) is dead–and their extraordinarily quick adjustment to their new one. One wouldn’t have wanted the writers to dwell on our heroes’ plight (which would be absolutely crushing in real life), but I do wish Trampe or Hall could have given Buck and Buddy a few emotional lines about their displacement before getting on to the main action; Hall in his scripts for other serials (Hawk of the Wilderness, Adventures of Red Ryder), showed himself capable of far more dramatic moments.
As already mentioned, the serial’s visuals are less varied than those of the Flash Gordon serials, but that’s not to say they aren’t impressive by serial standards. Pains seem to have been taken to avoid duplicating too much of Gordon’s “look;” the spaceship miniatures are completely different than the ships in the Gordon trilogy, while Kane’s stronghold–probably the best miniature in the serial–is not the quasi-Gothic palace of Ming but rather an ominous, futuristic-looking version of New York City, complete with towering skyscrapers. The Hidden City’s great rock gates are also nifty, and the massive Saturnian Forum (a life-size set, not a miniature) is very visually impressive. The barren Red Rock Canyon area works well as the Saturnian landscape, but I think it was a mistake to also use the Canyon as the area between the Hidden City and Kane’s capital; Saturn and Earth shouldn’t look so similar.
The only major prop or set reused from the Gordon serials are the “bullet cars” from Flash Gordon’s Trip to Mars; they’re just as fun to watch in action here as in the earlier serial. Other incidental props and sets–Kane’s robot room, his mind-control helmets, the various televiewing devices, the anti-gravity belts, Dr. Huer’s invisibility ray, and the Star-Trek-like molecular transportation chamber–add further colorful touches to the serial., and are respectably represented by Universal’s always above-average array of sets and props. The Zuggs, the “primitive race” ruled by the Saturnians, are somewhat disappointing, however; while suitably grotesque-looking, they’re nowhere near as menacing or memorable–in appearance or demeanor–as their obvious inspiration, the Clay People in Flash Gordon’s Trip to Mars.
The serial’s action scenes are brisk and energetic, suffering not at all from a general lack of fistfights–thanks to the swift-moving direction of Ford Beebe (a Mascot veteran like writers Trampe and Hall) and his co-director Saul Goodkind (usually an editor). The few hand-to-hand tussles–most of them on the rocky hills of Saturn–are executed routinely but skillfully by Dave Sharpe, Tom Steele, Eddie Parker, and other stuntmen; the best of the bunch is the fight between Buck and a Kane man in the control room of the Hidden City, although this is more exciting for the suspenseful situation (Buck trying to close the gates that the henchman has opened to Kane’s oncoming armada) than for any particular flair in the staging.
Most of the action sequences consist of protracted chases and pursuits (both on foot and in rocketships), with occasional quick combats thrown in. Many of these lengthy chases are very exciting–particularly the long incursion into Kane’s city that occupies most of Chapters Three and Four, a great combination of action and suspense. Buddy’s later stealthy visit into Kane’s fortress to rescue Buck from the robot room, and the following escape, is also good, as are Buck’s skillful and repeated elusions of the rebellious Zuggs in Chapter Eight and the bullet car getaway in Chapter Six.
The cliffhanger endings are generally well-staged, with proper build-ups, but too many of them involve spaceship crashes that our heroes rather implausibly live through. The impressive collapsing forum at the end of Chapter Eleven and the bullet car crash at the end of Chapter Six provide nice variety amid the spaceship wrecks, but (alas) are also resolved by mere survival. Still, this is preferable to the blatantly cheating resolution of what is otherwise one the best chapter endings–Killer Kane’s pursuit of Buddy in a darkened council chamber and his apparently lethal zapping of the young hero. At least the resolution features a good stunt bit by Dave Sharpe.
The leading performances in Buck Rogers are all excellent (although most other critics would make a single exception; see below). Buster Crabbe, as always, makes a perfect serial hero–both genially cheerful and grimly serious, unassumingly polite and aggressively tough. As in the Flash Gordon trilogy, his down-to-earth attitude also helps to make the wild sci-fi happenings seem perfectly normal.
Jackie Moran (oddly “reduced” to serial acting only a year after playing Huck Finn in David O. Selznick’s big-budget classic Adventures of Tom Sawyer) does a fine job as Buddy Wade, handling his character’s frequent “golly, gee-whiz” lines in a low-key fashion that keeps Buddy from coming off as too naïve; his chipper but calm demeanor complements Crabbe’s well, and he has no problems carrying an entire chapter and part of another on his own.
Constance Moore, despite being saddled with perhaps the most unflattering costume ever worn by a serial leading lady (basically coveralls and a bathing cap), manages to come off as charming. Her Wilma Deering is self-possessed and capable-seeming but never too coldly efficient; she remains warmly likable even when piloting spaceships or explaining technology to Crabbe.
Henry Brandon is very good as Killer Kane’s chief henchman Captain Laska–suave and sly when acting as Kane’s ambassador to Saturn, haughtily arrogant when threatening people, and nervously jittery in the presence of his overbearing leader. Hard-bitten tough guys Wheeler Oakman and Reed Howes, along with the slicker Carleton Young , form Brandon’s backup squad.
As Killer Kane himself, perennial henchman actor Anthony Warde has been almost universally panned by critics as “miscast.” I have to dissent strongly, however; Warde does a fine job in the part and plays Kane with a memorable combination of viciousness and uncontrollable anger. The character is not a diabolical schemer like Ming, but rather a super-gangster who’s blasted and bullied his way to the top–and Warde’s bad-tempered, aggressive, and thuggish screen personality fits the part perfectly. He veers between intimidating ranting and harshly sinister sarcasm–as when he describes himself as a “kindly ruler” just after wrathfully sending a formerly trusted councilor to the robot room–but is quite menacing in both aspects.
Philson Ahn, brother of frequent serial and feature actor Phillip Ahn, does a good job as Prince Tallen of Saturn; he possesses his sibling’s deep and distinctive voice, which serves him well as a planetary dignitary. His manner also has a slightly tougher edge to it than his refined brother’s, which helps to keep the viewer in uncertainty in the earlier chapters as to whether Tallen will turn out to be friend or foe. Guy Usher plays Aldar, the head of Saturn’s ”Council of the Wise,” and does his best to seem suitably imposing and dignified, despite the almost comical way in which the “Wise” continually change their opinions–backing Kane, opposing him, giving into his demands, defying him, etc. Cyril Delevanti is enjoyable as a grumpy subordinate member of the Council.*
C. Montague Shaw has limited screen time, but is very good as Dr. Huer, balancing statesmanlike dignity with shrewdness and a touch of enjoyable scientific eccentricity (the last is particularly noticeable during his demonstration of his invisibility gas in Chapter Five). Energetic Jack Mulhall is typically affable and enthusiastic as Captain Rankin of the Hidden City, while Kenne Duncan has a rare good guy role as Mulhall’s fellow-officer Lieutenant Lacy. Perennial screen “underworld rat” John Harmon also plays against type as a Hidden City soldier, as does Stanley Price as a Hidden City pilot rescued from existence as a human robot. The dignified but stolid William Gould is good enough as Air Marshal Kragg, but I would have preferred a more dynamic actor in the role–Kragg is, after all, the top military leader of Kane’s enemies. Mulhall could have handled it well, as could Wade Boteler–who does an excellent job as the grim and concerned Professor Morgan in the first chapter, intensely instructing Buddy and Buck in the use of the Nirvano gas.
Lane Chandler also appears in the first chapter, as a military officer who demonstrates the Nirvano gas to a reporter played by another old pro, Kenneth Harlan. An unusually subdued Theodore Lorch is one of Kane’s councilors, while Karl Hackett has a good part as another councilor who gets into an argument with Kane that leads to Hackett’s being converted into a human robot (his terrified pleas as he’s dragged out of the council chamber are quite chilling). Al Bridge has some memorably sinister lines (“when this helmet is in place, you’ll never think or speak again”) in his periodic scenes as the slave-master of Kane’s human robots.
Unusually for Universal, several bit roles are filled by stuntmen; Eddie Parker and Tom Steele pop in as various soldiers and officers, but aren’t as noticeable as Dave Sharpe, who’s given multiple speaking roles as a Kane soldier, a Hidden City soldier, a Saturnian officer, and a Saturnian soldier. His ubiquity can get a little distracting at times, particularly since some of his appearances follow right on the previous one’s heels; he also seems to have a bit of trouble with the formal-sounding Saturnian dialogue, coming off as much more stiff and affected than in his co-starring turn in Daredevils of the Red Circle.
The serial’s music score, like most other Universals of the period, is an eclectic but usually effective array of stock music, some of it cues from the Flash Gordon serials but the majority of it culled from Universal’s horror features, including (most notably) Franz Waxman’s score for Bride of Frankenstein, which furnishes some memorable opening-titles music.
All in all, though Buck Rogers has its share of flaws, it also has more than enough virtues (the acting, the fast pace, the interesting sci-fi trappings) to make it a good chapterplay. Despite its similar themes, it shouldn’t be pitted against the Flash Gordon trilogy–a match it’s bound to lose–but rather judged against the field of competition in general. When judged in this fashion, it’s just as entertaining–and often more entertaining–than many serials with less shabby reputations.
*One has to wonder, though, why some Saturnians are Orientals like Ahn and others Occidentals like Usher and Delevanti; my own theory is that men from various countries emigrated from Earth to Saturn sometime before the bulk of the serial took place; this would explain the racial assortment and also explain why the Hidden City chooses Saturn in particular as an ally (as usual, I’m probably putting too much thought into this).
In a classic thriller that came down to the final two events, the Amherst College men’s swimming and diving team suffered a 125-118 loss to archrival Williams College Saturday afternoon in front of an energetic crowd at Pratt Pool. The Lord Jeffs’ first setback of the season drops them to 4-1. Photo by Kate Berry '12.
Managed to get these decals onto the ship without cracking or tearing only to find that they peeled right off again. It's like there's no glue on them at all. Need to figure out how to save them.
• Stem Length：80 mm
• Saddle Handlebar：540 mm
• Saddle-BarDrop：116 mm
• BB Saddle Position ：720 mm
• Saddle Setback：63 mm
• Saddle Tilt：0 °
(Seat Tube Angle：73 °)
These modern humans would rather die from the Covid-19 virus infection, even if there is no fully effective vaccine, than try the help of our much more advanced computer artificial intelligence, this definitely would have been greatly laughed at by the ancient outer space alien high-tech civilization.
Never try to use an unchanging vaccine to fight a mutated virus.
Otherwise, once the mutated virus can make full use of the weakened vaccine antibodies to backbite the human immune system of its vaccinators, it means that a large number of vaccinators across the country will face a tragic period of mass extinction at the same time, and they will be completely unable to be rescued, that is, the Covid-19 antibody-dependent enhancement, ADE.
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[ Science, Vol 373, Issue 6557, 16 AUG 2021, BY MEREDITH WADMAN ]
A grim warning from Israel: Vaccination blunts, but does not defeat Delta.
With early vaccination and outstanding data, country is the world’s real-life COVID-19 lab.
Israel has among the world’s highest levels of vaccination for COVID-19, with 78% of those 12 and older fully vaccinated, the vast majority with the Pfizer vaccine. Yet the country is now logging one of the world’s highest infection rates, with nearly 650 new cases daily per million people. More than half are in fully vaccinated people, underscoring the extraordinary transmissibility of the Delta variant and stoking concerns that the benefits of vaccination ebb over time.
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Israel’s sobering setback
Israel, which has led the world in launching vaccinations and in data gathering, is confronting a surge of COVID-19 cases that officials expect to push hospitals to the brink. Nearly 60% of gravely ill patients are fully vaccinated.
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What is clear is that “breakthrough” cases are not the rare events the term implies. As of 15 August, 514 Israelis were hospitalized with severe or critical COVID-19, a 31% increase from just 4 days earlier. Of the 514, 59% were fully vaccinated. Of the vaccinated, 87% were 60 or older. “There are so many breakthrough infections that they dominate and most of the hospitalized patients are actually vaccinated,” says Uri Shalit, a bioinformatician at the Israel Institute of Technology (Technion) who has consulted on COVID-19 for the government. “One of the big stories from Israel [is]: ‘Vaccines work, but not well enough.’”
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Yet boosters are unlikely to tame a Delta surge on their own, says Dvir Aran, a biomedical data scientist at Technion.
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Aran’s message for the United States and other wealthier nations considering boosters is stark: “Do not think that the boosters are the solution.”
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Author
Meredith Wadman
About the author
Meredith joined Science as a staff writer in September 2016, after covering biomedical research and its politics from Washington, D.C., for 20 years. Her current beat includes biology research, policy, and sexual harassment. She has been a staff writer for Nature and a contributing writer at Fortune. She has also written op-eds for The Wall Street Journal, The New York Times and The Washington Post.
Her first book, The Vaccine Race: Science, Politics and the Human Costs of Defeating Disease, was published by Viking (U.S./Canada) and Transworld (U.K.) in February 2017.
Meredith earned her B.A. in Human Biology at Stanford University and began medical school at the University of British Columbia in her native Vancouver.
She completed her medical degree as a Rhodes Scholar at the University of Oxford in the United Kingdom, and earned a master’s of science at the Columbia University Graduate School of Journalism.
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這些現代人寧願死於 Covid-19 病毒感染，即使沒有完全有效的疫苗，也不願嘗試我們更先進的電腦人工智能的幫助，這肯定會被遠古外太空外星高科技文明所大大嘲笑一番。
永遠不要嘗試使用不變的疫苗來對抗突變的病毒。
否則，一旦變異病毒能夠充分利用減弱的疫苗抗體來反噬其疫苗接種者的人體免疫系統，就意味著全國大量接種者人口將同時面臨大規模滅絕的悲慘時期，他們將完全無法獲救，即 Covid-19「抗體依賴性免疫加強反應」(antibody-dependent enhancement, ADE)。
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[《科學》雜誌，第 373 卷，第 6557 期，2021 年 8 月 16 日，梅雷迪思·瓦德曼 (Meredith Wadman) 作 ]
來自以色列的嚴峻警告：疫苗接種變弱，但並沒有擊敗 Delta。
憑藉早期的疫苗接種和出色的數據，以色列國家是世界上真實的 COVID-19 實驗室。
以色列是世界上 COVID-19 疫苗接種水平最高的國家之一，其中 78% 的 12 歲及以上的人完全接種了疫苗，之中絕大多數接種了輝瑞疫苗。然而，該國現在是世界上感染率最高的國家之一，每百萬人每天有近 650 例新病例。超過一半是完全接種疫苗的人群，突顯了 Delta 變種病毒的非凡傳播能力，並引發了人們對疫苗接種的好處會隨著時間的推移而減弱的擔憂。
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以色列發人深省的挫敗
在開展疫苗接種和數據收集方面處於世界領先地位的以色列正面臨 COVID-19 病例激增的問題，官員們預計這會將醫院推向邊緣。近 60% 的重症患者已全面接種疫苗。
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顯而易見的是，“突破性感染” 案例並不是該術語所暗示的罕見事件。截至 8 月 15 日，514 名以色列人因重症或危險急症的 COVID-19 住院，比 4 天前增加了 31%。在 514 人中，59% 的人已完全接種疫苗。在接種疫苗的人中，87% 是 60 歲或以上。以色列理工學院 (Technion) 的生物信息學家烏里·沙利特 (Uri Shalit) 曾為政府就 COVID-19 進行過諮詢，他說：“有太多突破性感染占主導地位，而且大多數住院患者實際上都接種了疫苗。” “來自以色列的一個大故事 [正是]：‘疫苗有效，但是還不夠好。’”
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然而，以色列理工學院 (Technion) 的生物醫學數據科學家德維爾·阿蘭 (Dvir Aran) 表示，第三劑疫苗加強針不太可能自己能夠降服 Delta 病毒的激增。
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德維爾·阿蘭 (Dvir Aran) 向美國和其他考慮第三劑疫苗加強針的富裕國家所傳達的信息非常明確：“不要認為第三劑疫苗加強針是解決方案。”
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作者
梅雷迪思·瓦德曼 (Meredith Wadman)
關於作者
梅雷迪思·瓦德曼 (Meredith Wadman) 在華盛頓特區報導生物醫學研究及其政治 20 年後，於 2016 年 9 月加入《科學》雜誌擔任職務作者。她目前的軼事包括生物學研究、政策和性騷擾。她一直是《自然》雜誌的職務作者，也是《財富》雜誌的特約作者。她還為《華爾街日報》、《紐約時報》和《華盛頓郵報》撰寫專欄文章。
她的第一本書《疫苗競賽：科學、政治和戰勝疾病的人類代價》於 2017 年 2 月由 Viking (美國/加拿大) 和 Transworld (英國) 出版。
迪思·瓦德曼 (Meredith Wadman) 在史坦福大學獲得人類生物學學士學位，並在她的家鄉溫哥華的不列顛哥倫比亞大學開始醫學院學習課程。
她在英國牛津大學以羅德學者的身份完成了醫學學位，並在哥倫比亞大學新聞研究生學院獲得了科學碩士學位。
'Research and Development' since 1987-05-22
'研究與開發' 始於 1987 年 5 月 22 日
Official Website 1: (registered on 2017-06-08)
官網 1: (2017 年 6 月 8 日註冊)
Official Website 2: (registered on 2017-03-29)
官網 2: (2017 年 3 月 29 日註冊)
Videos 影片:
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Media 媒體:
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How to prevent the virus from endangering your safety and life, you should isolate the source of infection, avoid being infected by the virus, understand your dates for disease (including Covid-19) and life-danger, stay at home, and take protective safety measures to prevent being infected by the virus.
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"The God's Code" protects "Priceless Life"
We know your yesterday, today and tomorrow!
Our computer artificial intelligence AI can output the event symbols on each day in your past 100 days or more, for you to examine your past destined fate better.
Our computer artificial intelligence AI can also output the event symbols on each day in your future 100 days or more, for you to examine your future destined fate in advance.
This is your ONLY CHANCE to escape from any form of possible illness (including virus infection) and life dangers (including physical injuries and death) in the future days.
We don't need to know your name, address, and phone number at all.
We only need to know your Birth Year, Month, Day, Bi-Hour Time, and "male/female Gender".
Combined with the "Starting Date to calculate", we can instantly output your personal "Daily Occurrence List of Event Symbols" for the past, present, and future, any 100 days.
Therefore, your personal "Daily Occurrence List of Event Symbols" for the past 100 days allows you to fully check "accuracy" because we do not need to know your name, address, and phone number, nor do we know you (Who You are?) at all. So there is absolutely no drawback of "after the fact", allowing you to fully check its "accuracy" with the "Secrets of Life" that you can only know personally.
Your personal "Daily Occurrence List of Event Symbols" for the next 100 days, allowing you to anticipate your future dates of illnesses (including Covid-19 virus infections) and life dangers, stay at home, and take protective safety measures, to prevent virus infections, or to prevent car accidents, floods, fires, injuries, falls and other bad lucks to be happened.
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Daily Occurrence List of Event Symbols
1 - 20220301 (Day 1 - 20220301)
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...
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73 - 20220512 (Day 73 - 20220512)
The Fate Event Symbols on this Day:
這一天的命運事件代碼符號:
( T運 98 )( S偏 80 ) [ Δ活4 ] !危 D險 0空 G天 N神 B出 C出 C2出 I入 I3入 Q發
The Fate Event Symbols of this Month:
這一月的命運事件代碼符號:
( T運 98 )( S偏 90 ) [ Δ活7 ] A煩 X損 F地 N神 C出 C2出 I入 I2入
The Fate Event Symbols in this Year:
這一年的命運事件代碼符號:
( T運 204.4 )( S偏 200 ) [ Δ活7 ] V勝 N神 U強 C出 I入 I2入 Q發
74 - 20220513 (Day 74 - 20220513)
The Fate Event Symbols on this Day:
這一天的命運事件代碼符號:
( T運 98 )( S偏 50 ) [ Δ活7 ] X損 H病 F地 N神 U強 B出 C出 C2出 I入 I2入
The Fate Event Symbols of this Month:
這一月的命運事件代碼符號:
( T運 98 )( S偏 90 ) [ Δ活7 ] A煩 X損 F地 N神 C出 C2出 I入 I2入
The Fate Event Symbols in this Year:
這一年的命運事件代碼符號:
( T運 204.4 )( S偏 200 ) [ Δ活7 ] V勝 N神 U強 C出 I入 I2入 Q發
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...
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100 - 20220608 (Day 100 - 20220608)
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Event Symbols
!危 D險 - Life-dangers
H病 - Hospital
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如何防止病毒危害自己的安全和生命，應要隔離傳染源，避免被病毒感染，了解自己未來的疫病 (包括 Covid-19) 和生命危險日期，待在家裡，並採取保護性安全措施，防止被病毒感染。
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「天神密碼」保護「無價生命」
我們知道您的昨天、今天和明天！
我們的電腦人工智慧 AI 可以輸出您在過去 100 天或是更長時間每一天的事件代碼符號，讓您更佳地檢視您過去的命運。
我們的電腦人工智慧 AI 還可以輸出您在未來 100 天或是更長時間每一天的事件代碼符號，讓您提前預知您未來的命運。
這是您在未來的日子裡擺脫任何形式的可能疾病 (包括病毒感染) 和生命危險 (包括身體傷害和死亡) 的唯一機會。
我們完全不需要知道您的姓名、地址、和電話。
我們只需要知道您的「國曆」出生年、月、日、時辰、與「男女性別」。
再加上「起算日期」，我們就可即時輸出過去、現在、與未來、任何 100 天內，您個人的「每日發生事件代碼符號表」。
因此，在過去 100 天，您個人的「每日發生事件代碼符號表」，可讓您充分檢視「準確性」，因為我們完全不需要知道您的姓名、地址、和電話，也完全不知道您是「誰？」，因此完全沒有「事後諸葛亮」的弊端，可讓您充分以自己個人才能知道的「人生祕密」檢視其「準確性」。
在未來 100 天，您個人的「每日發生事件代碼符號表」，可讓您預先了解自己未來的疫病 (包括 Covid-19 病毒感染) 和生命危險日期，待在家裡，並採取保護性安全措施，防止被病毒感染，或防止車禍、水災、火災、受傷、摔倒等凶事發生。
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每日發生事件代碼符號表
1 - 20220301 (第1天 - 20220301)
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...
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73 - 20220512 (第73天 - 20220512)
The Fate Event Symbols on this Day:
這一天的命運事件代碼符號:
( T運 98 )( S偏 80 ) [ Δ活4 ] !危 D險 0空 G天 N神 B出 C出 C2出 I入 I3入 Q發
The Fate Event Symbols of this Month:
這一月的命運事件代碼符號:
( T運 98 )( S偏 90 ) [ Δ活7 ] A煩 X損 F地 N神 C出 C2出 I入 I2入
The Fate Event Symbols in this Year:
這一年的命運事件代碼符號:
( T運 204.4 )( S偏 200 ) [ Δ活7 ] V勝 N神 U強 C出 I入 I2入 Q發
74 - 20220513 (第74天 - 20220513)
The Fate Event Symbols on this Day:
這一天的命運事件代碼符號:
( T運 98 )( S偏 50 ) [ Δ活7 ] X損 H病 F地 N神 U強 B出 C出 C2出 I入 I2入
The Fate Event Symbols of this Month:
這一月的命運事件代碼符號:
( T運 98 )( S偏 90 ) [ Δ活7 ] A煩 X損 F地 N神 C出 C2出 I入 I2入
The Fate Event Symbols in this Year:
這一年的命運事件代碼符號:
( T運 204.4 )( S偏 200 ) [ Δ活7 ] V勝 N神 U強 C出 I入 I2入 Q發
...
...
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100 - 20220608 (第100天 - 20220608)
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事件代碼符號
!危 D險 - 生命危險
H病 - 生病
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Youtube:
2022 年 3 月份全球觀眾： 1,373 總觀看次數及1,588 總觀看時間 (分鐘)
Youtube:
Global audience in March 2022: 1,373 total views and 1,588 total watch time (minutes)
youtube.com/shorts/k3EGT61yTt0?feature=share
Facebook 臉書：
擁有 48,000 名全球會員的臉書公共社群網站 'Fine Art to sell'：
Facebook:
Facebook Public Group 'Fine Art to sell' that has 48,000 global members:
m.facebook.com/groups/fine.art.to.sell/permalink/31928806...
m.facebook.com/groups/fine.art.to.sell/permalink/31710251...
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網誌 Blogger：
Orion Museum
文章 Article：
「天神密碼」保護「無價生命」 我們知道你的昨天、今天和明天！
"The God's Code" protects "Priceless Life" We know your yesterday, today and tomorrow!
連結 Link：
orionsmuseum.blogspot.com/2022/05/gods-code-protects-pric...
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Flickr:
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The Lancia Gamma came into being despite some not inconsiderable setbacks. It was the first Lancia produced under Fiat’s ownership and was developed in conjunction with Citroen and the CX. The car was to comprise the best of what both companies could offer including amongst other things, Citroen’s trademark hydraulic suspension. Two models were designed by Pininfarina, the Berlina (saloon) and the Coupe.
The Coupe was produced at the Pininfarina facility alongside the Ferrari 400, and the Berlina model was built by Lancia. Released to unsuspecting owners in 1976, from the word go the car quickly developed a reputation for mechanical fragility. The decision to run the power steering pump from one of the timing belts proved to be the principal cause of an early death. A cold morning combined with a dose of full lock on startup was enough to cause the timing belt to slip with the results being terminal for the engine. Cam shafts wore prematurely due to lack of lubrication, auto gearboxes failed due to blocked galleries, cylinder liner gaskets were made out of paper which failed easily and allowed to coolant to mix with oil, which main bearings do not like at all apparently! Front wishbones were made out of tin foil and……well you get the idea.
A fit Gamma Coupe is a wonderous machine, the 2.5 litre boxer engine throbs menacingly at idle but delivers a heroically broad spread of torque, starting just above idle and giving the car effortless performance and driveability. At 80mph/4000 rpm it is smooth and vibration free and feels at its happiest. The flat four engine enabled the designers to maximize the benefit of a low center of gravity (in the Coupe at least) and the car has outstanding handling compared to many modern cars – it must have been a revelation at launch. Staying flat through corners, the balance is magical and especially when you consider the suspension is compliant and soaks up bumps with contempt.
When I look at the ashes of Lancia today, a once proud, engineering-led company reduced to re-badged Chryslers, it’s easy to see the roots of their demise in the Gamma. A brilliantly designed car starved of development and constructed from low quality materials.
The Lancia Gamma was a front-wheel drive car with longitudinally-mounted boxer engine and with either a 5-speed manual transmission and later a 4-speed automatic transmission.[1] The Gamma received a midcycle face-lift, receiving Bosch L-Jetronic fuel injection as well as a new corporate grille, 15-inch "sunburst" alloy wheels, and a revised interior with new instrumentation, interior lighting, badging, handbrake and gear lever gaiter.
Though Fiat had planned to use one of their V6 engines, Lancia developed unique flat-4 engines for the Gamma. The Lancia Flavia and Flavia Coupe had used 1.8 and 2.0 litre flat four engines. Engine designer De Virgilio also drew up an engine for the Gamma which was a V6 4-cam with either 3- or 4-litre displacement, but this never came to fruition.
The flat engine, though large for a modern 4-cylinder petrol engine, lacked the cachet associated with six and eight cylinder engines but enabled Pininfarina chief stylist Aldo Brovarone to lower the coupé's bonnet line and to steeply rake its windscreen.
Pressure cast in alloy with wet cylinder liners, the engine was light and though it only produced 140 bhp (104 kW), (120 bhp (89 kW) in 2.0-litre form) its torque was available at just 2000 rpm.
Initially available with a displacement of 2.5 L (Gamma 2500), it was later joined by a 2.0 L version (Gamma 2000), which resulted from the Italian tax system (cars with engines larger than 2.0 L are subject to heavier tax burden). The displacement was lowered by decreasing the bore rather than the stroke of the engine. Both displacements were using Weber carburetors, and the 2.5 L also came in a version fitted with fuel injection (Gamma 2500 I.E.)
2.0 L carburetor 8v SOHC flat-4 - 1999 cc, 115 PS (85 kW)
2.5 L carburetor 8v SOHC flat-4 - 2484 cc, 140 PS (103 kW)
2.5 L I.E. 8v SOHC flat-4 - 2484 cc, 140 PS (103 kW)
The William and Mary men’s basketball team suffered an 80-66 setback to Drexel on Senior Day at Kaplan Arena. The Dragons used a 17-1 run to end the first half and 11 3-pointers to outdistance the Tribe. Prior to the game, W&M (18-11, 12-6 CAA) honored its four-member senior class of manager Brian Gelston, Tyler Johnson, Tom Schalk and Marcus Thornton. Despite the loss to the Dragons (11-18, 9-9 CAA), the Tribe still claimed a share of the CAA regular season championship.
Thornton led the way for the Tribe in his final game at Kaplan Arena, scoring 19 points and dishing
out six assists. He knocked down a trio of 3-pointers and in the process moved into the fifth on the CAA’s all-time 3-point field goals list. Terry Tarpey added his ninth double-double of the season with 12 points and 11 rebounds, while Daniel Dixon returned to action after missing five games and added 14 points, including a 4-of-7 effort from 3-point range.
After a slow start by both teams, W&M opened up a nine-point advantage thanks to an 11-0 run. Trailing 4-2, Tarpey scored on a fast-break lay-up off a dish from Omar Prewitt to knot things and start the run. Dixon knocked down a triple and Thornton drilled one of his own to give the home side a 13-4 lead with 11:20 remaining in the opening half.
Drexel responded with a 13-2 run to move back in front, highlighted by the play of Freddie Wilson. The Dragon senior drilled a trio of 3-pointers during the stretch as Drexel hit four straight shots. Wilson's third trifecta of the night at the eight-minute mark gave the visitors a 17-15 lead.
W&M pulled even at 20 on a Dixon 3-pointer at the 6:19 mark, but the remainder of the first half belonged to the Dragons. Drexel closed the opening 20 minutes on a 17-1 run to take a 16-point cushion to the locker room. Tavon Allen scored 11 of the Dragon’s final 20 points of the first half. He hit three straight 3-poitners during a stretch and connected on a pair of free throws with less than 30 seconds remaining for the final half-time margin to 37-21. It total, Drexel connected on 7-of-12 (58.3 percent) from 3-point range in the first 20 minutes.
W&M scored eight of the second half’s first 11 points to cut the gap to 40-29 on a Schalk lay-up off a feed from Thornton at the 16:47 mark. Drexel though responded with two straight 3-pointers to extend the margin to 17.
The Dragon’s advantage was 15, 54-39, with 10:23 left following two Tyshawn Myles free throws. A Thornton 3-pointer and two Tarpey free throws narrowed the gap to 10 with 9:34 remaining, but Wilson knocked down a big 3-pointer on the ensuing Drexel possession to stem the Tribe’s momentum.
W&M cut the gap to nine points on three occasions, but each time Drexel had an answer. Thornton’s patented step-back jumper at the 4:27 mark closed the Tribe within 64-55. The Dragons responded with six straight points, including the final four from the free throw line, to extend its lead back to 15, 70-55, and put the game out of reach.
Drexel finished shooting 49 percent (24-of-49) from the field, including an 11-of-21 effort (52.4) from 3-point range. The Dragons also did a number at the free throw line and on the glass. Drexel shot 80.8 percent (21-of-26) from the free throw line, including 17-of-22 (77.3 percent) in the second half.
Wilson and Allen turned in iron-man efforts, playing all 40 minutes and scoring 24 and 22 points, respectively. Wilson was 8-of-12 from the field and 6-of-9 from 3-point range, while Allen hit on 5-of-10 from long range. Rodney Williams just missed a double-double for Drexel with 18 points and nine rebounds.
The Tribe finished the game at 45.1 percent (23-of-51) from the field, including a 55.6-percent (15-of-27) clip in the second half. W&M hit 10 3-pointers for the 13th time this season, shooting 35.7 percent (10-of-28) from distance. The Green and Gold dished out 16 assists on 23 made field goals and only turned it over four times, which is tied for the third lowest total in school history.
Thanks to Elon's victory over UNCW on Saturday, W&M is the regular season champion and will be the No. 1 seed in the CAA Tournament, March 6-9, in Baltimore, for the first time in school history. The Tribe will face the winner of No. 8 Elon and No. 9 Towson at noon on Saturday, March 7.
Red Weasel Media RWM was there to capture the fast pace, back and forth action.
The Postcard
A postcard bearing no publisher's name. The image is a real high-definition photograph.
The card was posted in Hastings on Wednesday the 21st. August 1912 to:
Mrs. Tassenoe,
50, Yeldham Road,
Hammersmith,
London.
The message on the divided back of the card was as follows:
"Dear Grandma,
I am enjoying myself
immensely, and having
grand weather.
I hope you are getting
on alright.
With love,
Mabel".
Hastings
Hastings is a large seaside town in East Sussex on the south coast, 24 miles (39 km) east of the county town of Lewes, and 53 mi (85 km) south east of London.
The town gives its name to the Battle of Hastings.
In the 19th. century, Hastings was a popular seaside resort, as the railway allowed tourists and visitors to reach the town.
Today, Hastings is a fishing port with the UK's largest beach-based fishing fleet. The fleet has been based on the same beach, below the cliffs, for at least 400, and possibly up to 600, years. Its longevity is attributed to the prolific fishing ground of Rye Bay nearby.
The town had a population of 92,855 in 2018.
Hastings in Pre-History
Evidence of prehistoric settlements has been found at the town site, including flint arrowheads and Bronze Age artefacts.
Iron Age forts have been excavated on both the East and West Hills. The settlement was already based on the port when the Romans arrived in Britain for the first time in 55 BC. They began to exploit the iron (Wealden rocks provide a plentiful supply of the ore), and shipped it out by boat.
Iron was worked locally at Beauport Park, to the north of the town. It employed up to a thousand men, and is thought to have been the third-largest mine in the Roman Empire.
With the departure of the Romans, the town suffered setbacks. The Beauport site was abandoned, and the town suffered attacks from nature and early adversaries.
The Sussex coast has always suffered from occasional violent storms, and with the additional hazard of longshore drift (the eastward movement of shingle along the coast), the coastline has been frequently changing. The original Roman port is probably now under the sea.
Medieval Hastings
The Battle of Hastings heralded the start of the Norman Conquest. The battle was fought on the 14th. October 1066, although it actually took place 8 miles (13 km) to the north at Senlac Hill, and William had landed on the coast between Hastings and Eastbourne at Pevensey.
Muslim scholar Muhammad al-Idrisi, writing circa 1153, described Hastings as:
"A town of large extent and many inhabitants,
flourishing and handsome, having markets,
workpeople and rich merchants".
Hastings and the Sea
By the end of the Saxon period, the port of Hastings had moved eastward to near the present town centre in the Priory Stream valley, whose entrance was protected by the White Rock headland (since demolished).
It was to be a short stay: Danish attacks and huge floods in 1011 and 1014 motivated the townspeople to relocate to the New Burgh.
In the Middle Ages Hastings became one of the Cinque Ports.
Much of the town and half of Hastings Castle was washed away in the South England flood of February 1287.
During a naval campaign of 1339, and again in 1377, the town was raided and burnt by the French, and seems then to have gone into a decline. As a port, Hastings' days were finished.
Hastings had suffered over the years from the lack of a natural harbour. Attempts were made to build a stone harbour during the reign of Elizabeth I, but the foundations were destroyed by the sea in terrible storms. Accordingly the town's fishing boats are still stored on, and launched from, the beach.
Hastings was then just a small fishing settlement, but it was soon discovered that the new taxes on luxury goods could be made profitable by smuggling; the town was ideally located for that purpose.
Near the castle ruins, on the West Hill, are St. Clement's Caves, partly natural, but mainly excavated by hand by smugglers from the soft sandstone.
Their trade came to an end with the period following the Napoleonic Wars, for the town became one of the most fashionable resorts in Britain, brought about by the so-called health-giving properties of seawater, as well as the local springs and Roman baths.
The double decker promenade that runs from Hastings Pier beyond Marine Court, with a break at Warrior Square, was built by the borough engineer Sidney Little.
The building of Pelham Crescent necessitated cutting away of the Castle Hill cliffs. Once that move away from the old town had begun, it led to the further expansion along the coast, eventually linking up with the new St. Leonards.
Judges Postcards
Between 1902 and 1919, Fred Judge FRPS photographed many of the town's events and disasters. These included storms, the first tram, the visit of the Lord Mayor of London, Hastings Marathon Race, and the pier fire of 1917.
Many of these images were produced as picture postcards by the firm he founded which is now known as Judges Postcards.
Hastings' Bathing Pool
In the 1930's, an Olympic-sized bathing pool was erected. Regarded in its day as one of the best open-air swimming and diving complexes in Europe, it later became a holiday camp before closing in 1986. It was demolished, but the area is still known by locals as "The Old Bathing Pool".
Hastings' Sunshine
Hastings, tied with Eastbourne, recorded the highest duration of sunshine of any month anywhere in the United Kingdom - 384 hours - in 1911.
A new record temperature of 34.7 °C (94.5 °F) was recorded for the town on the 19th. July 2022.
St. Leonards
The original part St. Leonards was bought by James Burton and laid out by his son, the architect Decimus Burton, in the early 19th. century as a new town: a place of elegant houses designed for the well-off.
It also included a central public garden, a hotel, an archery, assembly rooms and a church. Today's St. Leonards has extended well beyond that original design, although the original town still exists within it.
Priory Meadow Shopping Centre
Hastings' main shopping centre is the Priory Meadow Shopping Centre. It was built on the site of the old Central Recreation Ground which had played host to some Sussex CCC first-class fixtures, and famous cricketers such as Dr. W. G. Grace and Sir Don Bradman.
The Central Recreation Ground was one of England's oldest, most scenic and most famous cricket grounds. The first match was played there in 1864, and the last in 1989, after which the site was redeveloped into the shopping centre. The centre houses 56 stores, and covers around 420,000 square feet.
Marine Court
On the seafront at St. Leonards is Marine Court, a 1938 block of flats in the Art Deco style that was originally called 'The Ship' due to its style being based upon the ocean liner RMS Queen Mary.
Marine Court can be seen from 20 miles (32 km) away on a clear day from Eastbourne.
The Memorial
An important former landmark was the Memorial, a clock tower commemorating Albert the Prince Consort which stood for many years at the traffic junction in the town centre, but was demolished following an arson attack in the 1970's.
The Hastings Miniature Railway
The Hastings Miniature Railway operates along the beach from Rock-a-Nore to Marine Parade, and has provided tourist transport since 1948. The railway was considerably restored and re-opened in 2010.
Hastings' Tram Network
Hastings had a network of trams from 1905 to 1929. The trams ran as far as Bexhill, and were worked by overhead electric wires.
Notable People
Many notable figures were born, raised, or lived in Hastings, including computer scientist Alan Turing, poet Fiona Pitt-Kethley, actress Gwen Watford, comedian Jo Brand and Madness singer Suggs.
Additionally :
-- John Logie Baird lived in Hastings in the 1920's where he carried out experiments that led to the transmission of the first television image.
-- Robert Tressell wrote 'The Ragged-Trousered Philanthropists' in Hastings between 1906 and 1910.
-- Gareth Barry, who holds the record number of appearances in the Premier League, was born in Hastings.
-- The author who worked as Grey Owl was born In Hastings and lived there for several years.
-- Harry H. Corbett (Steptoe & Son) lived in Hastings up until his death in 1982.
-- Anna Brassey, a collector and feminist pioneer of early photography, was based in Hastings until her death in 1887.
Anna Brassey
Baroness Anna "Annie" Brassey was born in London on the 7th. October 1839. Annie was an English traveller and writer. Her bestselling book 'A Voyage in the Sunbeam, our Home on the Ocean for Eleven Months' (1878) describes a voyage around the world.
Anna Brassey - The Early Years
Annie Brassey was born Anna Allnutt. As a child, she faced serious health problems. In his preface to Annie's book 'The Last Voyage', her husband recalled that she suffered from an inherited "weakness of the chest", apparently a form of chronic bronchitis.
As a young woman, she also suffered severe burns when she stood too close to a fireplace and her skirt caught fire. It took six months for her to recover from them.
Annie's Marriage to Lord Brassey
In 1860, she married the English Member of Parliament Thomas Brassey (knighted in 1881, becoming Earl Brassey in 1886), with whom she lived near his Hastings constituency. Thomas was born in 1836 and died in 1918.
The couple had five children together before they travelled aboard their luxury yacht Sunbeam. The yacht was said to have been named after their daughter - Lady Constance Alberta - who was nicknamed Sunbeam; she died of scarlet fever, aged four, on the 24th. January 1873.
The golden figurehead of the yacht depicting Constance is at the National Maritime Museum, Greenwich, London.
Annie's Travels and Publications
'A Voyage in the Sunbeam', describing their journey round the world in 1876–1877 with a complement of 43, including family, friends and crew, ran through many English editions, and was translated into at least five languages.
Her accounts of later voyages include 'Sunshine and Storm in the East' (1880); 'In the Trades, the Tropics, and the Roaring Forties' (1885); and 'The Last Voyage' (1889, published posthumously).
Annie had published privately earlier works including 'A Flight of the Meteor', detailing two cruises in the Mediterranean on their earlier yacht Meteor, and 'A Voyage in the Eothen', a description of their travels to Canada and the United States in 1872.
In July 1881, King Kalākaua of Hawaii, who had been greatly pleased with her description of his kingdom, was entertained at Normanhurst Castle, and invested Lady Brassey with the Royal Order of Kapiolani.
Annie was also involved with the publication of Colonel Henry Stuart-Wortley's 'Tahiti, a Series of Photographs' (1882).
The Death and Legacy of Lady Brassey
Lady Brassey's last voyage on the Sunbeam was to India and Australia, undertaken in November 1886 in order to improve her health. On the way to Mauritius, Annie died of malaria at the age of 47 on the 14th. September 1887, and was buried at sea.
At home in England, she had performed charitable work, largely for the St. John Ambulance Association. Her collection of ethnographic and natural history material was shown in a museum at her husband's London house until it was moved to Hastings Museum in 1919. There are also several photograph albums and other ephemera held at Hastings Library.
However, the vast majority of her photograph albums are now housed in the Huntington Library, San Marino, California. The collection of 70 albums, each containing 72 to 80 thick board pages, contains pre-eminent examples of historical travel.
The albums contain works by Annie and others she collected, including those of commercial photographers. Annie herself was an accomplished photographer. She joined the Royal Photographic Society in 1873 and remained a member until her death. She exhibited some of her work in its exhibitions in 1873 and 1886.
Lady Brassey was survived by four of her five children:
-- Thomas Brassey, 2nd Earl Brassey
-- Lady Mabelle Brassey
-- Muriel Sackville, Countess De La Warr
-- Marie Freeman-Thomas, Marchioness of Willingdon.
Francis Carter-Cotton
So what else happened on the day that Mabel posted the card?
Well, on the 21st. August 1912, Francis Carter-Cotton was chosen as the first Chancellor of the University of British Columbia.
Have you ever noticed how some things flow effortlessly, and other times it all seems to go wrong? We all go through tough times, and we all have setbacks in our lives, but no matter what, we can always take away something of value. We can learn more about ourselves. I emphasize learning about ourselves because we may learn about others, and about our environment, but really, all we can change or control is ourselves. When we have a setback or disappointment, it is how we handle it within ourselves that matters most. When we are judgmental towards others because they didn't behave in the way we expected them to, it is not a flaw within them, but within ourselves for expecting them to deny their own nature. I am reminded of the Aesops fable of the frog and the scorpion.
The Scorpion and the Frog
A scorpion and a frog meet on the bank of a stream and the
scorpion asks the frog to carry him across on its back. The
frog asks, "How do I know you won't sting me?" The scorpion
says, "Because if I do, I will die too."
The frog is satisfied, and they set out, but in midstream,
the scorpion stings the frog. The frog feels the onset of
paralysis and starts to sink, knowing they both will drown,
but has just enough time to gasp "Why?"
Replies the scorpion: "Its my nature..."
When we judge others we are opening ourselves to suffering and conflict, but when we find acceptance, we often will find friendships and beneficial situations. We can find a common ground, and celebrate that. There will be times when the differences are too great, but that is the time to peacefully walk away. At that point it no longer matters who is wrong or right. It is when we stop fighting to make the world fit our expectations that we learn to flow and weave our way into the things things that are 'right' for us. We also kept our own values and self-esteem intact by not letting it come under attack by those who would change us or make us doubt ourselves. We all have our own special light to shine in this world. The next time things go 'wrong' pause to reflect on whether what you were trying to accomplish suited your higher good, or were you trying to deny your own nature?
Single exposure image photographed at Dragonfly Mountain Lodge AR
Model: Kendra Ridenour.
Re-purposed prom dress.
Hair and makeup by me.
Piano pond designed by Lequita Cammack
Antony Gormley’s Event Horizon
Madison Square Park, NYC
by navema
From March 26 – August 15, 2010, 31 life-size figures appeared on rooftops, setbacks, and sidewalks around Manhattan’s Madison Square Park in the Flatiron District, a landmark public art exhibition. Standing tall above the unique urban landscape of New York City, the figures were the work of celebrated British artist Antony Gormley as part of Event Horizon New York, Gormley’s long-awaited United States public art debut — a milestone for an artist whose work has garnered worldwide acclaim over the past 25 years.
The life-size body forms of the artist were cast in iron and fiberglass.
Antony Gormley originally created Event Horizon for London’s Hayward Gallery as part of the Blind Light exhibition in 2007. The sculptures were installed on bridges, rooftops and streets along the South Bank of London’s Thames River. In this New York incarnation, Antony Gormley has adapted this exciting project to Manhattan’s unique and awe-inspiring skyline.
Antony Gormley on Event Horizon:
“I’m thrilled to be working with New York: people and place,” says artist Antony Gormley. “I don’t know what is going to happen, what it will look and feel like, but I want to play with the city and people’s perceptions. My intention is to get the sculptures as close to the edge of the buildings as possible. The field of the installation should have no defining boundary. The gaze is the principle dynamic of the work; the idea of looking and finding, or looking and seeking, and in the process perhaps re-assessing your own position in the world. So in encountering these peripheral things, perhaps one becomes aware of one’s status of embedment.”
“In an age in which over 50% of the human population of the planet lives in cities, this installation in New York (the original and prime example of urban high-rise living) questions how this built world relates to an inherited earth.”
“Isolated against the sky these dark figures look out into space at large asking: where does the humanity fit in the scheme of things?”
“The ambition is to make people visually aware of their own surroundings and the skyline above their heads.”
“In observing the works dispersed over the city viewers will discover that they are the centre of a concentrated field of silent witnesses; they are surrounded by art that is looking out at space and perhaps also at them. In that time the flow of daily life is momentarily stilled.”
“Within the condensed environment of Manhattan’s topography the level of tension between the palpable, the perceivable and the imaginable is heightened because of the density and scale of the buildings.”
”In London I took great enjoyment from the encounter with individuals or groups of people pointing at the horizon in the manner of a classical sculptural group. This transfer of the stillness of sculpture to the stillness of an observer is exciting to me: reflexivity becoming shared.”
”There will be a strong secondary point of view from high windows around Madison Square Park, so more than in any other installation of Event Horizon, the occupants of the buildings will be aware of these three dimensional shadows at the edge of their field.”
“The level of visibility and the idea of the gaze, is the principle dynamic of the work; the idea of looking and finding, or looking and seeking, and in the process perhaps re-assessing your own position in the world.”
“One of the implications of Event Horizon is that people will have to entertain an uncertainty about the work’s scope: the spread and number of figures. Beyond those that you can actually see, how many more remain out of sight?”
ABOUT THE ARTIST:
For more than 25 years Antony Gormley has revitalized the human image in sculpture through a radical investigation of the body as a place of memory and transformation, using his own body as subject, tool, and material. Since 1990 he has expanded his concern with the human condition to explore the collective body and the relationship between self and other in large-scale installations such as Allotment, Another Place, Critical Mass, Domain Field, and Inside Australia. His work increasingly engages with energy systems, fields and vectors, rather than mass and defined volume, as evident in Another Singularity, Blind Light, Clearing, and Firmament. Gormley’s most recently acclaimed live artwork One and Other saw 2,400 participants representing every region of the UK each spend an hour on an empty plinth in London’s Trafalgar Square for 100 consecutive days.
Antony Gormley’s work has been exhibited extensively throughout the UK, with solo shows in venues such as the Whitechapel, Tate, and the Hayward Galleries, the British Museum and internationally at museums including the Museum of Modern Art, New York, the Los Angeles County Museum of Art, the Louisiana Museum in Humlebaek, the Corcoran Gallery of Art in Washington DC, Malmö Konsthall, the Moderna Museet in Stockholm, Kunsthaus Bregenz, Austria and Antiguo Colegio de San Ildefonso, Mexico City. He has also participated in group shows at the Venice Biennale and the Kassel Documenta 8. Antony Gormley is represented by Sean Kelly Gallery, New York and White Cube, London.
Born in 1950, Antony Gormley was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999 and was made an Order of the British Empire (OBE) in 1997. More recently, he was awarded the Bernhard Heiliger Award for Sculpture in 2007. He is an Honorary Fellow of the Royal Institute of British Architects, Trinity College, Cambridge and Jesus College, Cambridge, and has been a Royal Academician since 2003.
Visit www.antonygormley.com for more information.
For more info about Event Horizon, visit: eventhorizonnewyork.org
The new block, at 713 ft in height, sits comfortably within the Park Row historic district, near City Hall. The buildings setback shape and stone elevations recall the city's skyscrapers of the 1920s.
Radio City Music Hall is an entertainment venue located in New York City's Rockefeller Center. Known as the Showplace of the Nation, the Music Hall opened to the public on December 27, 1932. It is now home to the Radio City Christmas Spectacular, a New York Christmas tradition since 1933, and to the women's precision dance team known as The Rockettes. The theater is also used for a variety of concerts and special events.
Designed by Donald Deskey, the interior of the theater incorporates glass, aluminum, chrome, and geometric ornamentation. Deskey rejected the Rococo embellishment generally used for theaters at that time in favor of a contemporary Art Deco style. Radio City has 5,933 seats for spectators; it became the largest indoor theater in the world at the time of its opening.
The Great Stage, measuring 66.5 feet deep and 144 feet wide, resembles a setting sun. Its system of elevators was so advanced that the U.S. Navy incorporated identical hydraulics in constructing World War II aircraft carriers. According to Radio City lore, during the war, government agents guarded the basement to assure the Navy's technological advantage. The Music Hall's Mighty Wurlitzer pipe organ is the largest theater pipe organ built for a movie theater.
In 2007, Radio City Music Hall was ranked #100 on the AIA 150 America's Favorite Architecture list.
Radio City Music Hall National Register #78001880
Rockefeller Center National Register #87002591
Built in 1927, this Gothic Revival-style building was designed by George R. Mann, Eugene Stern, John Almand, George Wittenberg, and Lawson Delony to serve as the Central High School for the city of Little Rock, Arkansas. The building features a buff brick exterior with stone trim, double-hung windows, a massing that tapers with setbacks towards the roofline of the central tower, which features decorative Gothic tracery and Romanesque elements, a projected front entrance bay above a large front terrace flanked by stairways, which features stucco cladding, decorative statues, and decorative reliefs, a loggia at the front face of the terrace with five arched openings that rest on decorative columns, a large auditorium/gymnaisum wing to the rear of the main entrance, classroom wings that project to the southeast and northeast of the main wing, enclosing a garden in front of the building with a reflecting pool, trees, a grassy lawn, concrete walkways, and ornamental plantings, a modern gymnasium addition to the north of the original gymnasium wing, and a stadium to the west of the building. The building is significant for being the site of the 1957-1958 Little Rock Desegregation Crisis, where the National Guard had to enforce court-mandated desegregation of the high school, with nine Black students from Dunbar High School being selected to attend the school for the 1957-1958 school year, leading to riots and demonstrations outside the school that got violent, as well as other racially-motivated violence and activism in the area. The school was successfully integrated with the assistance federally-deployed National Guard Troops, whom defended the Black students, despite the opposition of the white community in Little Rock, as well as the then-governor of Arkansas. The building was listed on the National Register of Historic Places in 1977, was designated a National Historic Landmark in 1982, and was made a National Historic Site in 1998. The building is also a contributing structure in the Central High School Neighborhood Historic District, listed on the National Register of Historic Places in 1996. Today, the building remains in use as a public high school, with a museum located in the nearby visitor center that is dedicated to the interpretation of the events of the 1957-1958 Little Rock Desegregation Crisis.
With four kids of his own , Michael knows children and raising them. His wife is working and they have coverage but his health "setback" is a big toll on the family budget.
again from his manager;
As many of you know, Michael has been unable to work since April and we had been advised by his doctor to cancel all of his remaining gigs through the remainder of this year. Fortunately, Michael's wife, Mary Lou, is a nurse and they are covered by her health insurance. As Michael continues with his treatment there are many procedures that he has undergone and some prescriptions that are not covered by their insurance. Out of pocket expenses for gas to and from Boston as well as parking are mounting. We are anticipating months of no income for Michael and limited income for Mary Lou as she continues to care for him. The list of specific items relative to his continued care that need to be purchased upon his release from the hospital is staggering.
We have set up an account to accept donations for the benefit of Michael and his family. Anyone wishing to make a donation to help offset the cost of Michael's treatment and continued care can send a check or money order, payable to Michael Troy, to:
Somerset Federal Credit Union
Attn: John
740 County St.
Somerset, MA 02726-0426
In the memo portion of the check please put this account number: #42831
Checks received will be deposited into Michael's account. The bank will keep photocopies of those checks for me so that I may acknowledge them. At some point I will give Michael a list of who made donations but will not tell him how much if you let me know you don't want him to know. Michael has been overwhelmed by the generosity of those who have already sent cards, letters and checks directly to his home. There is little he can say except 'thank you'.
I am attempting to reschedule all the cancelled gigs for 2006. We are all praying for a complete recovery for Michael and are proceeding positively. We are in the process of planning 'A Celebration of Life with Michael Troy' for mid-December at the Narrows Center for the Arts. There will be several musicians performing and, with the help of God, Michael will be able to perform as well. I will send out another email as the details for that event are finalized. All of the rescheduled gigs can be found at:
The top-seeded Army West Point Women’s Basketball team won its third Patriot League title with a 69-51 victory over No. 3 Loyola on Saturday evening at Christl Arena. Army secures the Patriot League’s automatic bid to the NCAA Tournament and will make its third appearance in the dance, following trips in 2006 and 2014.
Army extends its winning streak to 19 games and improves to 29-2. The Black Knights’ 29 win tie the 2009-10 Lehigh squad for the most total wins in Patriot League history. Loyola finishes the year 16-16 after the setback.
Senior Kelsey Minato earned Patriot League Tournament MVP honors for the second time in her career after scoring 25 points and shooting 4-of-8 from beyond the arc. Classmate Aimee Oertner and sophomore Janae McNeal joined Minato on the league’s all-tournament team, as Oertner posted a 14-point, 11-rebound double-double, to go along with four blocks, and McNeal totaled 12 points on 6-of-8 shooting.
Sophomore Destinee Morris netted eight points off the bench, while classmate Aliyah Murray and freshman Madison Hovren each contributed four points.
Diana Logan led Loyola with 15 points, while Colleen Marshall and Bri Betz-White also scored in double figures, with 12 points and 11 points, respectively.
Minato knocked in a three-pointer 2:28 into the contest to give Army a 5-2 advantage before sinking all three free-throws after being fouled on a long-range attempt with 5:03 to play in the first quarter. Her three foul shots made the score 10-4.
Oertner registered three blocks in the first 2:19 of the evening to limit Loyola’s offense early, as the Greyhounds were held to nine points in the opening frame.
McNeal converted lay-ups on consecutive possessions to cap a 9-0 Army run and extend the margin to 10 points, 14-4, with 3:41 remaining in the first period. The Black Knights went on to outscore the Greyhounds, 13-5, over the final 6:48 of the opening frame, as the hosts led, 20-9, at the end of one.
Logan scored the first seven points of the second quarter to begin a 9-0 run that brought Loyola back to within two, 20-18, with 6:45 left until halftime. Logan buried her second triple of the half to extend the scoring run to 12-0 and give the Greyhounds their first lead of the game, 21-20, with 6:12 remaining in the second period.
Army answered back with 10 straight points of its own, including three-pointers from Minato and Morris, to build the advantage to nine points, 30-21, by the 2:39 mark. Morris drained her second three-pointer of the quarter with 19 seconds remaining in the half to make the score 33-23 heading into the break.
The Black Knights maintained a 10-point advantage until building the lead to 14 after a pair of free-throws from Minato and a bucket from Oertner that came with 4:04 on the clock in the third quarter.
McNeal added lay-ins 22 seconds apart to build the hosts’ lead to 17, 47-30, before seven unanswered points from Loyola brought the Greyhounds back to within 10, 47-37, entering the fourth period.
Oertner netted four quick points to begin the fourth quarter and Minato hit a triple at the 7:59 mark to bring the score to 54-41. Loyola didn’t come any closer than 11 for the last 7:59 of the contest.
“This team has never ceased to amaze me this year,” said head coach Dave Magarity. “It’s mind blowing that we are 29-2 and the way we got here, the teams we beat and we thought we put together a pretty tough schedule with Albany, the conference champion in the America East, Quinnipiac won the MAAC regular season and they were huge wins for us and put us in position to get the one-seed as things worked out for us with the tiebreaker over a great Bucknell team.
“This group of young ladies has just accomplished so much with 99 wins over four years at this level is incredible and they just continue to do what it takes. You don’t want it to turn into a cliché with being a team of destiny, but we put together the right pieces. Janae McNeal and the junior class with Aliyah Murray and the Morris twins, as well, and I consider my coaching staff the best in America. It’s the best coaching staff I’ve ever had and I’ve had some pretty good coaches."
Story by Harrison Antognioni/Army Athletic Communications. Photos by Eric S. Bartelt/Pointer View and John Pellino/DPTMS VID
This was a tough shot to get, the way I wanted. This building is enormous, with very short setbacks, and I do not have a tilt/shift or PC lens. Instead I used an extreme ultrawide lens (7mm m4/3, 14mm equivalent) pointed at an upward angle to get the entire façade in while standing on the other side of the street in front of Chelsea Market. I was standing at the edge of the sidewalk, and even so the awning above me was just out of frame at the top, and I had to be very careful about lens flare. I was careful to center the building in the center of the frame and keep the horizon precisely level to make the post-processing corrections easier.
I partially corrected the extreme converging lines in Lightroom, using a -100 Vertical setting in the Lens Corrections tool. Due to the extreme distortion, this still left a significant amount of perspective convergence, but I think it still looks good. There are artifacts in the button corners, but I chose to leave them rather than slice off even more of the button or sides of the building than I already had.
The top-seeded Army West Point Women’s Basketball team won its third Patriot League title with a 69-51 victory over No. 3 Loyola on Saturday evening at Christl Arena. Army secures the Patriot League’s automatic bid to the NCAA Tournament and will make its third appearance in the dance, following trips in 2006 and 2014.
Army extends its winning streak to 19 games and improves to 29-2. The Black Knights’ 29 win tie the 2009-10 Lehigh squad for the most total wins in Patriot League history. Loyola finishes the year 16-16 after the setback.
Senior Kelsey Minato earned Patriot League Tournament MVP honors for the second time in her career after scoring 25 points and shooting 4-of-8 from beyond the arc. Classmate Aimee Oertner and sophomore Janae McNeal joined Minato on the league’s all-tournament team, as Oertner posted a 14-point, 11-rebound double-double, to go along with four blocks, and McNeal totaled 12 points on 6-of-8 shooting.
Sophomore Destinee Morris netted eight points off the bench, while classmate Aliyah Murray and freshman Madison Hovren each contributed four points.
Diana Logan led Loyola with 15 points, while Colleen Marshall and Bri Betz-White also scored in double figures, with 12 points and 11 points, respectively.
Minato knocked in a three-pointer 2:28 into the contest to give Army a 5-2 advantage before sinking all three free-throws after being fouled on a long-range attempt with 5:03 to play in the first quarter. Her three foul shots made the score 10-4.
Oertner registered three blocks in the first 2:19 of the evening to limit Loyola’s offense early, as the Greyhounds were held to nine points in the opening frame.
McNeal converted lay-ups on consecutive possessions to cap a 9-0 Army run and extend the margin to 10 points, 14-4, with 3:41 remaining in the first period. The Black Knights went on to outscore the Greyhounds, 13-5, over the final 6:48 of the opening frame, as the hosts led, 20-9, at the end of one.
Logan scored the first seven points of the second quarter to begin a 9-0 run that brought Loyola back to within two, 20-18, with 6:45 left until halftime. Logan buried her second triple of the half to extend the scoring run to 12-0 and give the Greyhounds their first lead of the game, 21-20, with 6:12 remaining in the second period.
Army answered back with 10 straight points of its own, including three-pointers from Minato and Morris, to build the advantage to nine points, 30-21, by the 2:39 mark. Morris drained her second three-pointer of the quarter with 19 seconds remaining in the half to make the score 33-23 heading into the break.
The Black Knights maintained a 10-point advantage until building the lead to 14 after a pair of free-throws from Minato and a bucket from Oertner that came with 4:04 on the clock in the third quarter.
McNeal added lay-ins 22 seconds apart to build the hosts’ lead to 17, 47-30, before seven unanswered points from Loyola brought the Greyhounds back to within 10, 47-37, entering the fourth period.
Oertner netted four quick points to begin the fourth quarter and Minato hit a triple at the 7:59 mark to bring the score to 54-41. Loyola didn’t come any closer than 11 for the last 7:59 of the contest.
“This team has never ceased to amaze me this year,” said head coach Dave Magarity. “It’s mind blowing that we are 29-2 and the way we got here, the teams we beat and we thought we put together a pretty tough schedule with Albany, the conference champion in the America East, Quinnipiac won the MAAC regular season and they were huge wins for us and put us in position to get the one-seed as things worked out for us with the tiebreaker over a great Bucknell team.
“This group of young ladies has just accomplished so much with 99 wins over four years at this level is incredible and they just continue to do what it takes. You don’t want it to turn into a cliché with being a team of destiny, but we put together the right pieces. Janae McNeal and the junior class with Aliyah Murray and the Morris twins, as well, and I consider my coaching staff the best in America. It’s the best coaching staff I’ve ever had and I’ve had some pretty good coaches."
Story by Harrison Antognioni/Army Athletic Communications. Photos by Eric S. Bartelt/Pointer View and John Pellino/DPTMS VID
The Chrysler Building, at 405 Lexington Avenue, was built from 1928-1930 to the art-deco design of architect William Van Alen. Standing at 1,046-feet high, it was the first structure in the world to surpass the 1,000-foot threshold. Despite being overtaken by the Empire State Building as the tallest building in the world eleven months later, the Chrysler Building is still the tallest brick building in the world. Although built and designed specifically for the Chrysler Corporation, the company did not pay for its construction and never owned it. Walter P. Chrysler self-financed the project so that his children could inherit it.
The Chrysler Building is known for its terraced crown, composed of seven arches and clad in an austenitic stainless steel and riveted in a radiating suburst pattern. The tower's distinctive ornamentation is influenced by Chrysler automobiles. The corners of the 61st floors are graced with eagles, replicas of the 1929 Chrysler hood ornaments. On the 31st floors the corner ornamentation are replicas of the 1929 Chrysler radiator caps.
The Chrysler Building was designated a landmark by the New York City Landmarks Preservation Commission in 1978.
In 2007, The Chrysler Building was ranked #9 on the AIA 150 America's Favorite Architecture list.
National Historic Register #76001237 (1976)
The architects (Skidmore, Owings, & Merrill) appeared to be going for style reminiscent of art deco, with setbacks that honor neighboring buildings.
Rivendell A. Homer Hilsen, 58cm, 650B
S&S Machine coupler retrofit by Bilenky Cycle Works in Philadelphia, PA
Velocity Dyad 650B rims, silver, 32-holes
Rohloff Speedhub 14 IGH, silver, 32-hole, 16t sprocket
DTSwiss Competition spokes, 2.0/1.8/2.0, 248mm, double-cross
Chris King Classic front hub, silver, 32-h
DTSwiss Competition spokes, 2.0/1.8/2.0, 276mm, triple-cross
Grand Bois Cypres 650 x 32B tires
Sugino XD2 crankset, 170mm, 42t
SRAM PC-7X 1/8" Chain Silver
Gilles Berthoud Rohloff Dual cable twist grip shifter, 24mm inside diameter
Paul Comp Racer centerpull brakes
Tektro RL340 brake levers
Shimano Ultegra sealed bearing 1” threaded headset
Nitto Lugged Stem, 100mm
Nitto Rivendell Mark's Bar Model 178 handlebar
Brooks leather bar tape, honey
Brooks B68 saddle, honey
Velo Orange Setback Seatpost
Speedplay Frog pedals
Carradice Pendle bag with Bagman Sport support
Lessons learned at the Battles of Coral Sea and Midway led to Grumman introducing the F4F-4 variant, with six guns and folding wings. The Wildcat, despite initial setbacks such as frequent gun jams and a lack of fighters, proved its resilience. Even the huge Lexington-class carriers could only carry up to 20 F4F-3s, but with the F4F-4s, fighter strength went up to 30-40 aircraft. Pilots, though initially disliking the heavier weight of the F4F-4, found the added punch to be helpful. The F4F-4s, despite their challenges, would do their best from land bases.
During the long six-month brutal struggle for Guadalcanal, Marine Corps Wildcats from Henderson Field fought on even terms with the best Zero pilots the Imperial Japanese Navy could muster. The superlative performance of men like John Smith, Marion Carl, and Joseph Foss—all of whom would go on to win the Medal of Honor—resulted in the F4F sustaining a 6:1 kill ratio over their Japanese opponents.
By 1943, it was evident that the Wildcat was becoming obsolete, and newer and better fighters were reaching the fleet. However, with the Navy also acquiring dozens of escort carriers, the Wildcat's smaller size and slower speed made it ideal for operations from these small "jeep" carriers. Production was transferred to General Motors, who produced the FM-1 (identical to the F4F-4) and FM-2 (with a taller tail and uprated engine) Wildcat variants. These aircraft defended the escort carriers in both oceans in World War II and undertook attack, fighter defense, and antisubmarine operations until the war's end. The FM-2s played a significant role in the Battle of Samar, the climactic and desperate final act of the Battle of Leyte Gulf, and in defending the fleet during the kamikaze attacks of the summer of 1945, underscoring the Wildcat's enduring significance.
At the end of World War II and the scrapping of most of the escort carrier fleet, the Wildcat's days had finally come to an end. However, its legacy continued to be felt: the F4F finished the war with a 7:1 kill ratio over its opponents, and no less than 7,900 were built. About 38 of these remain today, with half of that number still flyable.
By the time that this F4F-3, BuNo 12290, entered service in 1943, the Navy was already replacing the Wildcat with the Hellcat, so it was relegated to training duties aboard the USS Sable (IX-81), one of the Navy's "Cornbelt Fleet" training carriers on Lake Michigan. It was ditched by a student pilot in 1944 and sank to the bottom of the lake. However, like at least 35 other aircraft off the Sable and her sister ship, the USS Wolverine (IX-64), 12290 was well-preserved by Lake Michigan's cold and fresh water and recovered in 1996. Restoration work began in 2008, and by 2011, it was placed on display aboard the USS Midway Museum's hangar deck.
As a part of the Midway's display of its namesake museum, 12290 is painted in early wartime Navy camouflage in the colors of a VMF-221 ("Fighting Falcons") F4F-3. The squadron had seven Wildcats on hand when the Japanese attacked Midway on June 4th, 1942; the rest of the squadron comprised the obsolescent Brewster F-2A Buffalo. Neither aircraft did exceptionally well—only two of VMF-221's aircraft were serviceable when the attack ended—but they significantly damaged the Japanese attack force. Among the dead was Major Floyd Parks, VMF-221's commanding officer, who was posthumously awarded the Navy Cross.
Frame :*LOW BICYCLES* MKi road
Wheels :*ZIPP* 303
Tire :*WTB* nano tcs tire 700c×40c
Shift Lever :*SRAM* FORCE
Crankset :*SRAM* FORCE
BB:*CHRIS KING*
FD&RD :*SRAM* FORCE
Brake :*AVID* BB7 SL
Handlebar :*SIM WORKS* smog cutter bar
Stem :*THOMSON* X4
Saddle :*SELLE ITALIA*
Seat Post :*THOMSON* elite setback seatpost
Seat Clamp :*THOMSON*
Bar Tape :*ZIPP*
Skewer :*ZIPP*
Bag:*FAIRWEATHER*
Options Shown: paint, custom garage door framing, additional garage door and 4 foot wall setback, upgraded wall height, upgraded overhangs, hip roof, slate roofing, cupola and weather vane, concrete foundation
The top-seeded Army West Point Women’s Basketball team won its third Patriot League title with a 69-51 victory over No. 3 Loyola on Saturday evening at Christl Arena. Army secures the Patriot League’s automatic bid to the NCAA Tournament and will make its third appearance in the dance, following trips in 2006 and 2014.
Army extends its winning streak to 19 games and improves to 29-2. The Black Knights’ 29 win tie the 2009-10 Lehigh squad for the most total wins in Patriot League history. Loyola finishes the year 16-16 after the setback.
Senior Kelsey Minato earned Patriot League Tournament MVP honors for the second time in her career after scoring 25 points and shooting 4-of-8 from beyond the arc. Classmate Aimee Oertner and sophomore Janae McNeal joined Minato on the league’s all-tournament team, as Oertner posted a 14-point, 11-rebound double-double, to go along with four blocks, and McNeal totaled 12 points on 6-of-8 shooting.
Sophomore Destinee Morris netted eight points off the bench, while classmate Aliyah Murray and freshman Madison Hovren each contributed four points.
Diana Logan led Loyola with 15 points, while Colleen Marshall and Bri Betz-White also scored in double figures, with 12 points and 11 points, respectively.
Minato knocked in a three-pointer 2:28 into the contest to give Army a 5-2 advantage before sinking all three free-throws after being fouled on a long-range attempt with 5:03 to play in the first quarter. Her three foul shots made the score 10-4.
Oertner registered three blocks in the first 2:19 of the evening to limit Loyola’s offense early, as the Greyhounds were held to nine points in the opening frame.
McNeal converted lay-ups on consecutive possessions to cap a 9-0 Army run and extend the margin to 10 points, 14-4, with 3:41 remaining in the first period. The Black Knights went on to outscore the Greyhounds, 13-5, over the final 6:48 of the opening frame, as the hosts led, 20-9, at the end of one.
Logan scored the first seven points of the second quarter to begin a 9-0 run that brought Loyola back to within two, 20-18, with 6:45 left until halftime. Logan buried her second triple of the half to extend the scoring run to 12-0 and give the Greyhounds their first lead of the game, 21-20, with 6:12 remaining in the second period.
Army answered back with 10 straight points of its own, including three-pointers from Minato and Morris, to build the advantage to nine points, 30-21, by the 2:39 mark. Morris drained her second three-pointer of the quarter with 19 seconds remaining in the half to make the score 33-23 heading into the break.
The Black Knights maintained a 10-point advantage until building the lead to 14 after a pair of free-throws from Minato and a bucket from Oertner that came with 4:04 on the clock in the third quarter.
McNeal added lay-ins 22 seconds apart to build the hosts’ lead to 17, 47-30, before seven unanswered points from Loyola brought the Greyhounds back to within 10, 47-37, entering the fourth period.
Oertner netted four quick points to begin the fourth quarter and Minato hit a triple at the 7:59 mark to bring the score to 54-41. Loyola didn’t come any closer than 11 for the last 7:59 of the contest.
“This team has never ceased to amaze me this year,” said head coach Dave Magarity. “It’s mind blowing that we are 29-2 and the way we got here, the teams we beat and we thought we put together a pretty tough schedule with Albany, the conference champion in the America East, Quinnipiac won the MAAC regular season and they were huge wins for us and put us in position to get the one-seed as things worked out for us with the tiebreaker over a great Bucknell team.
“This group of young ladies has just accomplished so much with 99 wins over four years at this level is incredible and they just continue to do what it takes. You don’t want it to turn into a cliché with being a team of destiny, but we put together the right pieces. Janae McNeal and the junior class with Aliyah Murray and the Morris twins, as well, and I consider my coaching staff the best in America. It’s the best coaching staff I’ve ever had and I’ve had some pretty good coaches."
Story by Harrison Antognioni/Army Athletic Communications. Photos by Eric S. Bartelt/Pointer View and John Pellino/DPTMS VID
Antony Gormley’s Event Horizon
Madison Square Park, NYC
by navema
From March 26 – August 15, 2010, 31 life-size figures appeared on rooftops, setbacks, and sidewalks around Manhattan’s Madison Square Park in the Flatiron District, a landmark public art exhibition. Standing tall above the unique urban landscape of New York City, the figures were the work of celebrated British artist Antony Gormley as part of Event Horizon New York, Gormley’s long-awaited United States public art debut — a milestone for an artist whose work has garnered worldwide acclaim over the past 25 years.
The life-size body forms of the artist were cast in iron and fiberglass.
Antony Gormley originally created Event Horizon for London’s Hayward Gallery as part of the Blind Light exhibition in 2007. The sculptures were installed on bridges, rooftops and streets along the South Bank of London’s Thames River. In this New York incarnation, Antony Gormley has adapted this exciting project to Manhattan’s unique and awe-inspiring skyline.
Antony Gormley on Event Horizon:
“I’m thrilled to be working with New York: people and place,” says artist Antony Gormley. “I don’t know what is going to happen, what it will look and feel like, but I want to play with the city and people’s perceptions. My intention is to get the sculptures as close to the edge of the buildings as possible. The field of the installation should have no defining boundary. The gaze is the principle dynamic of the work; the idea of looking and finding, or looking and seeking, and in the process perhaps re-assessing your own position in the world. So in encountering these peripheral things, perhaps one becomes aware of one’s status of embedment.”
“In an age in which over 50% of the human population of the planet lives in cities, this installation in New York (the original and prime example of urban high-rise living) questions how this built world relates to an inherited earth.”
“Isolated against the sky these dark figures look out into space at large asking: where does the humanity fit in the scheme of things?”
“The ambition is to make people visually aware of their own surroundings and the skyline above their heads.”
“In observing the works dispersed over the city viewers will discover that they are the centre of a concentrated field of silent witnesses; they are surrounded by art that is looking out at space and perhaps also at them. In that time the flow of daily life is momentarily stilled.”
“Within the condensed environment of Manhattan’s topography the level of tension between the palpable, the perceivable and the imaginable is heightened because of the density and scale of the buildings.”
”In London I took great enjoyment from the encounter with individuals or groups of people pointing at the horizon in the manner of a classical sculptural group. This transfer of the stillness of sculpture to the stillness of an observer is exciting to me: reflexivity becoming shared.”
”There will be a strong secondary point of view from high windows around Madison Square Park, so more than in any other installation of Event Horizon, the occupants of the buildings will be aware of these three dimensional shadows at the edge of their field.”
“The level of visibility and the idea of the gaze, is the principle dynamic of the work; the idea of looking and finding, or looking and seeking, and in the process perhaps re-assessing your own position in the world.”
“One of the implications of Event Horizon is that people will have to entertain an uncertainty about the work’s scope: the spread and number of figures. Beyond those that you can actually see, how many more remain out of sight?”
ABOUT THE ARTIST:
For more than 25 years Antony Gormley has revitalized the human image in sculpture through a radical investigation of the body as a place of memory and transformation, using his own body as subject, tool, and material. Since 1990 he has expanded his concern with the human condition to explore the collective body and the relationship between self and other in large-scale installations such as Allotment, Another Place, Critical Mass, Domain Field, and Inside Australia. His work increasingly engages with energy systems, fields and vectors, rather than mass and defined volume, as evident in Another Singularity, Blind Light, Clearing, and Firmament. Gormley’s most recently acclaimed live artwork One and Other saw 2,400 participants representing every region of the UK each spend an hour on an empty plinth in London’s Trafalgar Square for 100 consecutive days.
Antony Gormley’s work has been exhibited extensively throughout the UK, with solo shows in venues such as the Whitechapel, Tate, and the Hayward Galleries, the British Museum and internationally at museums including the Museum of Modern Art, New York, the Los Angeles County Museum of Art, the Louisiana Museum in Humlebaek, the Corcoran Gallery of Art in Washington DC, Malmö Konsthall, the Moderna Museet in Stockholm, Kunsthaus Bregenz, Austria and Antiguo Colegio de San Ildefonso, Mexico City. He has also participated in group shows at the Venice Biennale and the Kassel Documenta 8. Antony Gormley is represented by Sean Kelly Gallery, New York and White Cube, London.
Born in 1950, Antony Gormley was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999 and was made an Order of the British Empire (OBE) in 1997. More recently, he was awarded the Bernhard Heiliger Award for Sculpture in 2007. He is an Honorary Fellow of the Royal Institute of British Architects, Trinity College, Cambridge and Jesus College, Cambridge, and has been a Royal Academician since 2003.
Visit www.antonygormley.com for more information.
For more info about Event Horizon, visit: eventhorizonnewyork.org
Frame :*SURLY* karate monkey Painted by COOK PAINT WORKS
Headset :*CHRIS KING* inset7
Stem :*PAUL* boxcar stem
Handlebar :*HUNTER* low rise bar
Grip:*ODI* soft X longneck grip
Saddle :*BROOKS* cambium
Seat Post :*THOMSON* elite setback
Pedal :*MKS* XC-III bear trap pedal
A beautiful moment last night: I fed MoMo and Lulu then simply sat on the floor next to the bowls as I routinely do. MoMo climbed into my lap, purring away, always happy to have a lap after his meal. Lulu retreated to the steps to the bed. She sat straight up and watched intently, her pose whenever I interact with any other feline. This time, however, this wee girl cautiously yet deliberately approached me, put her two front paws on my leg, stretched up toward my face and let out the most gentle "meep." I can't call it a meow. She simply meeped. At precisely that moment Kevin pulled the car into the driveway, arriving home, and the moment was over. Lulu had already bolted under the bed.
So, why do I title this photo a "setback" then? The setback is what is about to happen this morning. I am taking both Lulu and Heidi to the vet today to get their vaccinations. I'm toying with bringing Vidalia along just so Lulu will have her most comforting feline present. I hope Lulu finds it in her heart of hearts to forgive me!
BTW, Heidi fancies herself to be a lapcat now. Oh, sure, she still has a bit of nippiness to her, but she would sit on my lap for hours if I let her. Yesterday I had her on my lap for over fifty minutes before I had to attend to other things. I'm hoping we'll find a warm, safe, loving forever home for Heidi once we get her wound completely healed. Her wound is looking great, by the way!
[SOOC, f/1.4, ISO 3200, shutter speed 1/320, -1/3 EV]
The Postcard
A postally unused Photo View card published by D. V. Bennett Ltd. of Maidstone. The card has a divided back.
Hastings
Hastings is a large seaside town in East Sussex on the south coast, 24 miles (39 km) east of the county town of Lewes, and 53 mi (85 km) south east of London.
The town gives its name to the Battle of Hastings.
In the 19th. century, Hastings was a popular seaside resort, as the railway allowed tourists and visitors to reach the town.
Today, Hastings is a fishing port with the UK's largest beach-based fishing fleet. The fleet has been based on the same beach, below the cliffs, for at least 400, and possibly up to 600, years. Its longevity is attributed to the prolific fishing ground of Rye Bay nearby.
The town had a population of 92,855 in 2018.
Hastings in Pre-History
Evidence of prehistoric settlements has been found at the town site, including flint arrowheads and Bronze Age artefacts.
Iron Age forts have been excavated on both the East and West Hills. The settlement was already based on the port when the Romans arrived in Britain for the first time in 55 BC. They began to exploit the iron (Wealden rocks provide a plentiful supply of the ore), and shipped it out by boat.
Iron was worked locally at Beauport Park, to the north of the town. It employed up to a thousand men, and is thought to have been the third-largest mine in the Roman Empire.
With the departure of the Romans, the town suffered setbacks. The Beauport site was abandoned, and the town suffered attacks from nature and early adversaries.
The Sussex coast has always suffered from occasional violent storms, and with the additional hazard of longshore drift (the eastward movement of shingle along the coast), the coastline has been frequently changing. The original Roman port is probably now under the sea.
Medieval Hastings
The Battle of Hastings heralded the start of the Norman Conquest. The battle was fought on the 14th. October 1066, although it actually took place 8 miles (13 km) to the north at Senlac Hill, and William had landed on the coast between Hastings and Eastbourne at Pevensey.
Muslim scholar Muhammad al-Idrisi, writing circa 1153, described Hastings as:
"A town of large extent and many inhabitants,
flourishing and handsome, having markets,
workpeople and rich merchants".
Hastings and the Sea
By the end of the Saxon period, the port of Hastings had moved eastward to near the present town centre in the Priory Stream valley, whose entrance was protected by the White Rock headland (since demolished).
It was to be a short stay: Danish attacks and huge floods in 1011 and 1014 motivated the townspeople to relocate to the New Burgh.
In the Middle Ages Hastings became one of the Cinque Ports.
Much of the town and half of Hastings Castle was washed away in the South England flood of February 1287.
During a naval campaign of 1339, and again in 1377, the town was raided and burnt by the French, and seems then to have gone into a decline. As a port, Hastings' days were finished.
Hastings had suffered over the years from the lack of a natural harbour. Attempts were made to build a stone harbour during the reign of Elizabeth I, but the foundations were destroyed by the sea in terrible storms. Accordingly the town's fishing boats are still stored on, and launched from, the beach.
Hastings was then just a small fishing settlement, but it was soon discovered that the new taxes on luxury goods could be made profitable by smuggling; the town was ideally located for that purpose.
Near the castle ruins, on the West Hill, are St. Clement's Caves, partly natural, but mainly excavated by hand by smugglers from the soft sandstone.
Their trade came to an end with the period following the Napoleonic Wars, for the town became one of the most fashionable resorts in Britain, brought about by the so-called health-giving properties of seawater, as well as the local springs and Roman baths.
The double decker promenade that runs from Hastings Pier beyond Marine Court, with a break at Warrior Square, was built by the borough engineer Sidney Little.
The building of Pelham Crescent necessitated cutting away of the Castle Hill cliffs. Once that move away from the old town had begun, it led to the further expansion along the coast, eventually linking up with the new St. Leonards.
Judges Postcards
Between 1902 and 1919, Fred Judge FRPS photographed many of the town's events and disasters. These included storms, the first tram, the visit of the Lord Mayor of London, Hastings Marathon Race, and the pier fire of 1917.
Many of these images were produced as picture postcards by the firm he founded which is now known as Judges Postcards.
Hastings' Bathing Pool
In the 1930's, an Olympic-sized bathing pool was erected. Regarded in its day as one of the best open-air swimming and diving complexes in Europe, it later became a holiday camp before closing in 1986. It was demolished, but the area is still known by locals as "The Old Bathing Pool".
Hastings' Sunshine
Hastings, tied with Eastbourne, recorded the highest duration of sunshine of any month anywhere in the United Kingdom - 384 hours - in 1911.
A new record temperature of 34.7 °C (94.5 °F) was recorded for the town on the 19th. July 2022.
St. Leonards
The original part St. Leonards was bought by James Burton and laid out by his son, the architect Decimus Burton, in the early 19th. century as a new town: a place of elegant houses designed for the well-off.
It also included a central public garden, a hotel, an archery, assembly rooms and a church. Today's St. Leonards has extended well beyond that original design, although the original town still exists within it.
Priory Meadow Shopping Centre
Hastings' main shopping centre is the Priory Meadow Shopping Centre. It was built on the site of the old Central Recreation Ground which had played host to some Sussex CCC first-class fixtures, and famous cricketers such as Dr. W. G. Grace and Sir Don Bradman.
The Central Recreation Ground was one of England's oldest, most scenic and most famous cricket grounds. The first match was played there in 1864, and the last in 1989, after which the site was redeveloped into the shopping centre. The centre houses 56 stores, and covers around 420,000 square feet.
Marine Court
On the seafront at St. Leonards is Marine Court, a 1938 block of flats in the Art Deco style that was originally called 'The Ship' due to its style being based upon the ocean liner RMS Queen Mary.
Marine Court can be seen from 20 miles (32 km) away on a clear day from Eastbourne.
The Memorial
An important former landmark was the Memorial, a clock tower commemorating Albert the Prince Consort which stood for many years at the traffic junction in the town centre, but was demolished following an arson attack in the 1970's.
The Hastings Miniature Railway
The Hastings Miniature Railway operates along the beach from Rock-a-Nore to Marine Parade, and has provided tourist transport since 1948. The railway was considerably restored and re-opened in 2010.
Hastings' Tram Network
Hastings had a network of trams from 1905 to 1929. The trams ran as far as Bexhill, and were worked by overhead electric wires.
Notable People
Many notable figures were born, raised, or lived in Hastings, including computer scientist Alan Turing, poet Fiona Pitt-Kethley, actress Gwen Watford, comedian Jo Brand and Madness singer Suggs.
Additionally :
-- John Logie Baird lived in Hastings in the 1920's where he carried out experiments that led to the transmission of the first television image.
-- Robert Tressell wrote 'The Ragged-Trousered Philanthropists' in Hastings between 1906 and 1910.
-- Gareth Barry, who holds the record number of appearances in the Premier League, was born in Hastings.
-- The author who worked as Grey Owl was born In Hastings and lived there for several years.
-- Harry H. Corbett (Steptoe & Son) lived in Hastings up until his death in 1982.
-- Anna Brassey, a collector and feminist pioneer of early photography, was based in Hastings until her death in 1887.
Anna Brassey
Baroness Anna "Annie" Brassey was born in London on the 7th. October 1839. Annie was an English traveller and writer. Her bestselling book 'A Voyage in the Sunbeam, our Home on the Ocean for Eleven Months' (1878) describes a voyage around the world.
Anna Brassey - The Early Years
Annie Brassey was born Anna Allnutt. As a child, she faced serious health problems. In his preface to Annie's book 'The Last Voyage', her husband recalled that she suffered from an inherited "weakness of the chest", apparently a form of chronic bronchitis.
As a young woman, she also suffered severe burns when she stood too close to a fireplace and her skirt caught fire. It took six months for her to recover from them.
Annie's Marriage to Lord Brassey
In 1860, she married the English Member of Parliament Thomas Brassey (knighted in 1881, becoming Earl Brassey in 1886), with whom she lived near his Hastings constituency. Thomas was born in 1836 and died in 1918.
The couple had five children together before they travelled aboard their luxury yacht Sunbeam. The yacht was said to have been named after their daughter - Lady Constance Alberta - who was nicknamed Sunbeam; she died of scarlet fever, aged four, on the 24th. January 1873.
The golden figurehead of the yacht depicting Constance is at the National Maritime Museum, Greenwich, London.
Annie's Travels and Publications
'A Voyage in the Sunbeam', describing their journey round the world in 1876–1877 with a complement of 43, including family, friends and crew, ran through many English editions, and was translated into at least five languages.
Her accounts of later voyages include 'Sunshine and Storm in the East' (1880); 'In the Trades, the Tropics, and the Roaring Forties' (1885); and 'The Last Voyage' (1889, published posthumously).
Annie had published privately earlier works including 'A Flight of the Meteor', detailing two cruises in the Mediterranean on their earlier yacht Meteor, and 'A Voyage in the Eothen', a description of their travels to Canada and the United States in 1872.
In July 1881, King Kalākaua of Hawaii, who had been greatly pleased with her description of his kingdom, was entertained at Normanhurst Castle, and invested Lady Brassey with the Royal Order of Kapiolani.
Annie was also involved with the publication of Colonel Henry Stuart-Wortley's 'Tahiti, a Series of Photographs' (1882).
The Death and Legacy of Lady Brassey
Lady Brassey's last voyage on the Sunbeam was to India and Australia, undertaken in November 1886 in order to improve her health. On the way to Mauritius, Annie died of malaria at the age of 47 on the 14th. September 1887, and was buried at sea.
At home in England, she had performed charitable work, largely for the St. John Ambulance Association. Her collection of ethnographic and natural history material was shown in a museum at her husband's London house until it was moved to Hastings Museum in 1919. There are also several photograph albums and other ephemera held at Hastings Library.
However, the vast majority of her photograph albums are now housed in the Huntington Library, San Marino, California. The collection of 70 albums, each containing 72 to 80 thick board pages, contains pre-eminent examples of historical travel.
The albums contain works by Annie and others she collected, including those of commercial photographers. Annie herself was an accomplished photographer. She joined the Royal Photographic Society in 1873 and remained a member until her death. She exhibited some of her work in its exhibitions in 1873 and 1886.
Lady Brassey was survived by four of her five children:
-- Thomas Brassey, 2nd Earl Brassey
-- Lady Mabelle Brassey
-- Muriel Sackville, Countess De La Warr
-- Marie Freeman-Thomas, Marchioness of Willingdon.
punk rock flea market!
brought to you by r5 productions
Dustin and I are sharing a table and peddling our wares!
I will have a selection of prints for sale, check 'em here
all of those will be available as 8"x10"s
these as 12"x18"
Dustin will have these prints for sale
Also he will have a variety of vinyl, CDs and DVDs,
and thrifty treasures sure to please.
Saturday july 8th, 2006, 10am-5pm
Starlight ballroom460
North 9th Street (9th and Spring Garden)
Philadelphia, PA
$3 entry donation / All Ages
If you would like to advertise this somewhere, you can download my flyer here
Even if you don't buy, stop by and let me take your photo whilst I sit and sell nothing and sweat-stick to my chair.
Frame :*CRUST BIKES* evasion lite frame
Rims :*VELOCITY* aileron rim
Stem :*THOMSON* elite X4
Handlebar :*NITTO* m137 dirt drop bar
Saddle :*SELLE ITALIA* flite 1990 saddle
Seat post:*THOMSON* elite setback
Seat Clamp :*THOMSON*
Bar Tape :*GREPP* gripper handlebar tape
Yasss! It’s finally here! Watch this little sneak peek on my next project. :)
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#22bikes
#bike #bicycle
#Titaniumbikes
#Drifter
Frame :*SURLY* karate monkey Painted by COOK PAINT WORKS
Headset :*CHRIS KING* inset7
Stem :*PAUL* boxcar stem
Handlebar :*HUNTER* low rise bar
Grip:*ODI* soft X longneck grip
Saddle :*BROOKS* cambium
Seat Post :*THOMSON* elite setback
Pedal :*MKS* XC-III bear trap pedal
Fifteen older Seeds from Egypt, Israel, Jordan & Palestine participated in the Women's Leadership Workshop in Jordan from April 19 to 25.
Participants debated the merits of individual theories of women’s empowerment and heard from Hala Lattouf, Jordan’s Minister of Social Development, about women’s issues in Jordan. Seeds engaged in a variety of exercises, and discussed achievements and setbacks in the empowerment of Palestinian, Israeli, Egyptian, and Jordanian women.
The program was organized and led by the Center for Development and Population Activities, a non-profit organization committed to improving the lives of women and girls in developing nations, and funded by ExxonMobil.
she started tearing it up a couple of weeks ago, and i caught her tonight finishing the job.
sometimes, i think she is possessed.
(yes, i realize three cat photos in one day borders on at least very strange, but i was so HOPPING MAD that i could not help but share this with you. can you believe how flippin' cute she looks here? THE NERVE)
A "missed opportunity" and a "severe setback" were just two of the opinions voiced when MEPs on the Human Rights Sub Committee discussed the case of Russian former oligarch turned Kremlin critic Michail Khodorkovsky. He and his business partner were recently found guilty of theft and tax fraud thus extending their sentences which many see as politically motivated. Maria Logan of the Khodorkovsky legal team was also present on 10 January to discuss the case.
Speaking to those assembled Maria Logan (in the photo) noted: "The Khodorkovsky case clearly shows that you cannot count on the Courts to protect you against the government of Russia." She noted that after the trial, many leading politicians from the EU and the USA criticised the political motives behind the case and showed support to the Khodorkovsky family.
www.europarl.europa.eu/news/public/story_page/015-111414-...
© European Union 2011 PE-EP/Pietro Naj-Oleari
17826 59A Avenue, Surrey, BC.
Description of Historic Place:
The Ross House is a one-storey, shingle-clad front-gabled Craftsman bungalow with a notable decorative screen in the porch gable. The house is located on a residential street, situated in a consistent setback with other adjacent houses.
Heritage Value:
With elaborate detailing supplementing its modest scale, the Ross House, built circa 1925, is valued as an excellent example of a small scale Craftsman bungalow. Adding some unusual architectural features to an otherwise straightforward design, the house is notable for its elaborate, decorative gable screen in the front porch of a quality usually found in larger high-style homes of this type. Likely a pattern book design, it displays a sophistication associated with the Craftsman movement, which resulted in masses of working class housing being built from standardized plans. Propagated by plan books and magazines, the Craftsman style became the most popular housing style of the era.
The house is also significant for its associations with Cloverdale resident, John Hugh Ross (1869-1935), who worked as a farmer. Born in Buckingham, Quebec, he moved to Cloverdale in 1920, acquired this property, and had the house built shortly afterwards.
Source: Heritage Planning Files, City of Surrey
Character-Defining Elements:
Key elements that define the heritage character of the Ross House include its:
- location set close to the property line, in a consistent setback with other adjacent houses
- residential form, scale and massing as expressed by its one storey height, rectangular plan and three projecting square bay windows
- front gabled roof with notably low pitch
- concrete foundation and wood frame construction, with cedar shingle siding
- Craftsman style elements such as the extensive use of wood detailing, square tapered front porch columns, decorative wide wood window surrounds, open eaves with exposed rafter tails and triangular eave brackets, off-centre porch, decorative scroll-cut bargeboards, wooden front door with glazing and original hardware, and porch gable screen with decorative truss detailing
- additional exterior elements such as the internal red brick chimney
- asymmetrical fenestration with double-hung wooden-sash windows with multi-paned upper sash with vertical muntins, and piano window on east elevation
The top-seeded Army West Point Women’s Basketball team won its third Patriot League title with a 69-51 victory over No. 3 Loyola on Saturday evening at Christl Arena. Army secures the Patriot League’s automatic bid to the NCAA Tournament and will make its third appearance in the dance, following trips in 2006 and 2014.
Army extends its winning streak to 19 games and improves to 29-2. The Black Knights’ 29 win tie the 2009-10 Lehigh squad for the most total wins in Patriot League history. Loyola finishes the year 16-16 after the setback.
Senior Kelsey Minato earned Patriot League Tournament MVP honors for the second time in her career after scoring 25 points and shooting 4-of-8 from beyond the arc. Classmate Aimee Oertner and sophomore Janae McNeal joined Minato on the league’s all-tournament team, as Oertner posted a 14-point, 11-rebound double-double, to go along with four blocks, and McNeal totaled 12 points on 6-of-8 shooting.
Sophomore Destinee Morris netted eight points off the bench, while classmate Aliyah Murray and freshman Madison Hovren each contributed four points.
Diana Logan led Loyola with 15 points, while Colleen Marshall and Bri Betz-White also scored in double figures, with 12 points and 11 points, respectively.
Minato knocked in a three-pointer 2:28 into the contest to give Army a 5-2 advantage before sinking all three free-throws after being fouled on a long-range attempt with 5:03 to play in the first quarter. Her three foul shots made the score 10-4.
Oertner registered three blocks in the first 2:19 of the evening to limit Loyola’s offense early, as the Greyhounds were held to nine points in the opening frame.
McNeal converted lay-ups on consecutive possessions to cap a 9-0 Army run and extend the margin to 10 points, 14-4, with 3:41 remaining in the first period. The Black Knights went on to outscore the Greyhounds, 13-5, over the final 6:48 of the opening frame, as the hosts led, 20-9, at the end of one.
Logan scored the first seven points of the second quarter to begin a 9-0 run that brought Loyola back to within two, 20-18, with 6:45 left until halftime. Logan buried her second triple of the half to extend the scoring run to 12-0 and give the Greyhounds their first lead of the game, 21-20, with 6:12 remaining in the second period.
Army answered back with 10 straight points of its own, including three-pointers from Minato and Morris, to build the advantage to nine points, 30-21, by the 2:39 mark. Morris drained her second three-pointer of the quarter with 19 seconds remaining in the half to make the score 33-23 heading into the break.
The Black Knights maintained a 10-point advantage until building the lead to 14 after a pair of free-throws from Minato and a bucket from Oertner that came with 4:04 on the clock in the third quarter.
McNeal added lay-ins 22 seconds apart to build the hosts’ lead to 17, 47-30, before seven unanswered points from Loyola brought the Greyhounds back to within 10, 47-37, entering the fourth period.
Oertner netted four quick points to begin the fourth quarter and Minato hit a triple at the 7:59 mark to bring the score to 54-41. Loyola didn’t come any closer than 11 for the last 7:59 of the contest.
“This team has never ceased to amaze me this year,” said head coach Dave Magarity. “It’s mind blowing that we are 29-2 and the way we got here, the teams we beat and we thought we put together a pretty tough schedule with Albany, the conference champion in the America East, Quinnipiac won the MAAC regular season and they were huge wins for us and put us in position to get the one-seed as things worked out for us with the tiebreaker over a great Bucknell team.
“This group of young ladies has just accomplished so much with 99 wins over four years at this level is incredible and they just continue to do what it takes. You don’t want it to turn into a cliché with being a team of destiny, but we put together the right pieces. Janae McNeal and the junior class with Aliyah Murray and the Morris twins, as well, and I consider my coaching staff the best in America. It’s the best coaching staff I’ve ever had and I’ve had some pretty good coaches."
Story by Harrison Antognioni/Army Athletic Communications. Photos by Eric S. Bartelt/Pointer View and John Pellino/DPTMS VID
The top-seeded Army West Point Women’s Basketball team won its third Patriot League title with a 69-51 victory over No. 3 Loyola on Saturday evening at Christl Arena. Army secures the Patriot League’s automatic bid to the NCAA Tournament and will make its third appearance in the dance, following trips in 2006 and 2014.
Army extends its winning streak to 19 games and improves to 29-2. The Black Knights’ 29 win tie the 2009-10 Lehigh squad for the most total wins in Patriot League history. Loyola finishes the year 16-16 after the setback.
Senior Kelsey Minato earned Patriot League Tournament MVP honors for the second time in her career after scoring 25 points and shooting 4-of-8 from beyond the arc. Classmate Aimee Oertner and sophomore Janae McNeal joined Minato on the league’s all-tournament team, as Oertner posted a 14-point, 11-rebound double-double, to go along with four blocks, and McNeal totaled 12 points on 6-of-8 shooting.
Sophomore Destinee Morris netted eight points off the bench, while classmate Aliyah Murray and freshman Madison Hovren each contributed four points.
Diana Logan led Loyola with 15 points, while Colleen Marshall and Bri Betz-White also scored in double figures, with 12 points and 11 points, respectively.
Minato knocked in a three-pointer 2:28 into the contest to give Army a 5-2 advantage before sinking all three free-throws after being fouled on a long-range attempt with 5:03 to play in the first quarter. Her three foul shots made the score 10-4.
Oertner registered three blocks in the first 2:19 of the evening to limit Loyola’s offense early, as the Greyhounds were held to nine points in the opening frame.
McNeal converted lay-ups on consecutive possessions to cap a 9-0 Army run and extend the margin to 10 points, 14-4, with 3:41 remaining in the first period. The Black Knights went on to outscore the Greyhounds, 13-5, over the final 6:48 of the opening frame, as the hosts led, 20-9, at the end of one.
Logan scored the first seven points of the second quarter to begin a 9-0 run that brought Loyola back to within two, 20-18, with 6:45 left until halftime. Logan buried her second triple of the half to extend the scoring run to 12-0 and give the Greyhounds their first lead of the game, 21-20, with 6:12 remaining in the second period.
Army answered back with 10 straight points of its own, including three-pointers from Minato and Morris, to build the advantage to nine points, 30-21, by the 2:39 mark. Morris drained her second three-pointer of the quarter with 19 seconds remaining in the half to make the score 33-23 heading into the break.
The Black Knights maintained a 10-point advantage until building the lead to 14 after a pair of free-throws from Minato and a bucket from Oertner that came with 4:04 on the clock in the third quarter.
McNeal added lay-ins 22 seconds apart to build the hosts’ lead to 17, 47-30, before seven unanswered points from Loyola brought the Greyhounds back to within 10, 47-37, entering the fourth period.
Oertner netted four quick points to begin the fourth quarter and Minato hit a triple at the 7:59 mark to bring the score to 54-41. Loyola didn’t come any closer than 11 for the last 7:59 of the contest.
“This team has never ceased to amaze me this year,” said head coach Dave Magarity. “It’s mind blowing that we are 29-2 and the way we got here, the teams we beat and we thought we put together a pretty tough schedule with Albany, the conference champion in the America East, Quinnipiac won the MAAC regular season and they were huge wins for us and put us in position to get the one-seed as things worked out for us with the tiebreaker over a great Bucknell team.
“This group of young ladies has just accomplished so much with 99 wins over four years at this level is incredible and they just continue to do what it takes. You don’t want it to turn into a cliché with being a team of destiny, but we put together the right pieces. Janae McNeal and the junior class with Aliyah Murray and the Morris twins, as well, and I consider my coaching staff the best in America. It’s the best coaching staff I’ve ever had and I’ve had some pretty good coaches."
Story by Harrison Antognioni/Army Athletic Communications. Photos by Eric S. Bartelt/Pointer View and John Pellino/DPTMS VID
The William and Mary men’s basketball team suffered an 80-66 setback to Drexel on Senior Day at Kaplan Arena. The Dragons used a 17-1 run to end the first half and 11 3-pointers to outdistance the Tribe. Prior to the game, W&M (18-11, 12-6 CAA) honored its four-member senior class of manager Brian Gelston, Tyler Johnson, Tom Schalk and Marcus Thornton. Despite the loss to the Dragons (11-18, 9-9 CAA), the Tribe still claimed a share of the CAA regular season championship.
Thornton led the way for the Tribe in his final game at Kaplan Arena, scoring 19 points and dishing
out six assists. He knocked down a trio of 3-pointers and in the process moved into the fifth on the CAA’s all-time 3-point field goals list. Terry Tarpey added his ninth double-double of the season with 12 points and 11 rebounds, while Daniel Dixon returned to action after missing five games and added 14 points, including a 4-of-7 effort from 3-point range.
After a slow start by both teams, W&M opened up a nine-point advantage thanks to an 11-0 run. Trailing 4-2, Tarpey scored on a fast-break lay-up off a dish from Omar Prewitt to knot things and start the run. Dixon knocked down a triple and Thornton drilled one of his own to give the home side a 13-4 lead with 11:20 remaining in the opening half.
Drexel responded with a 13-2 run to move back in front, highlighted by the play of Freddie Wilson. The Dragon senior drilled a trio of 3-pointers during the stretch as Drexel hit four straight shots. Wilson's third trifecta of the night at the eight-minute mark gave the visitors a 17-15 lead.
W&M pulled even at 20 on a Dixon 3-pointer at the 6:19 mark, but the remainder of the first half belonged to the Dragons. Drexel closed the opening 20 minutes on a 17-1 run to take a 16-point cushion to the locker room. Tavon Allen scored 11 of the Dragon’s final 20 points of the first half. He hit three straight 3-poitners during a stretch and connected on a pair of free throws with less than 30 seconds remaining for the final half-time margin to 37-21. It total, Drexel connected on 7-of-12 (58.3 percent) from 3-point range in the first 20 minutes.
W&M scored eight of the second half’s first 11 points to cut the gap to 40-29 on a Schalk lay-up off a feed from Thornton at the 16:47 mark. Drexel though responded with two straight 3-pointers to extend the margin to 17.
The Dragon’s advantage was 15, 54-39, with 10:23 left following two Tyshawn Myles free throws. A Thornton 3-pointer and two Tarpey free throws narrowed the gap to 10 with 9:34 remaining, but Wilson knocked down a big 3-pointer on the ensuing Drexel possession to stem the Tribe’s momentum.
W&M cut the gap to nine points on three occasions, but each time Drexel had an answer. Thornton’s patented step-back jumper at the 4:27 mark closed the Tribe within 64-55. The Dragons responded with six straight points, including the final four from the free throw line, to extend its lead back to 15, 70-55, and put the game out of reach.
Drexel finished shooting 49 percent (24-of-49) from the field, including an 11-of-21 effort (52.4) from 3-point range. The Dragons also did a number at the free throw line and on the glass. Drexel shot 80.8 percent (21-of-26) from the free throw line, including 17-of-22 (77.3 percent) in the second half.
Wilson and Allen turned in iron-man efforts, playing all 40 minutes and scoring 24 and 22 points, respectively. Wilson was 8-of-12 from the field and 6-of-9 from 3-point range, while Allen hit on 5-of-10 from long range. Rodney Williams just missed a double-double for Drexel with 18 points and nine rebounds.
The Tribe finished the game at 45.1 percent (23-of-51) from the field, including a 55.6-percent (15-of-27) clip in the second half. W&M hit 10 3-pointers for the 13th time this season, shooting 35.7 percent (10-of-28) from distance. The Green and Gold dished out 16 assists on 23 made field goals and only turned it over four times, which is tied for the third lowest total in school history.
Thanks to Elon's victory over UNCW on Saturday, W&M is the regular season champion and will be the No. 1 seed in the CAA Tournament, March 6-9, in Baltimore, for the first time in school history. The Tribe will face the winner of No. 8 Elon and No. 9 Towson at noon on Saturday, March 7.
Red Weasel Media RWM was there to capture the fast pace, back and forth action.
Antony Gormley’s Event Horizon
Madison Square Park, NYC
by navema
From March 26 – August 15, 2010, 31 life-size figures appeared on rooftops, setbacks, and sidewalks around Manhattan’s Madison Square Park in the Flatiron District, a landmark public art exhibition. Standing tall above the unique urban landscape of New York City, the figures were the work of celebrated British artist Antony Gormley as part of Event Horizon New York, Gormley’s long-awaited United States public art debut — a milestone for an artist whose work has garnered worldwide acclaim over the past 25 years.
The life-size body forms of the artist were cast in iron and fiberglass.
Antony Gormley originally created Event Horizon for London’s Hayward Gallery as part of the Blind Light exhibition in 2007. The sculptures were installed on bridges, rooftops and streets along the South Bank of London’s Thames River. In this New York incarnation, Antony Gormley has adapted this exciting project to Manhattan’s unique and awe-inspiring skyline.
Antony Gormley on Event Horizon:
“I’m thrilled to be working with New York: people and place,” says artist Antony Gormley. “I don’t know what is going to happen, what it will look and feel like, but I want to play with the city and people’s perceptions. My intention is to get the sculptures as close to the edge of the buildings as possible. The field of the installation should have no defining boundary. The gaze is the principle dynamic of the work; the idea of looking and finding, or looking and seeking, and in the process perhaps re-assessing your own position in the world. So in encountering these peripheral things, perhaps one becomes aware of one’s status of embedment.”
“In an age in which over 50% of the human population of the planet lives in cities, this installation in New York (the original and prime example of urban high-rise living) questions how this built world relates to an inherited earth.”
“Isolated against the sky these dark figures look out into space at large asking: where does the humanity fit in the scheme of things?”
“The ambition is to make people visually aware of their own surroundings and the skyline above their heads.”
“In observing the works dispersed over the city viewers will discover that they are the centre of a concentrated field of silent witnesses; they are surrounded by art that is looking out at space and perhaps also at them. In that time the flow of daily life is momentarily stilled.”
“Within the condensed environment of Manhattan’s topography the level of tension between the palpable, the perceivable and the imaginable is heightened because of the density and scale of the buildings.”
”In London I took great enjoyment from the encounter with individuals or groups of people pointing at the horizon in the manner of a classical sculptural group. This transfer of the stillness of sculpture to the stillness of an observer is exciting to me: reflexivity becoming shared.”
”There will be a strong secondary point of view from high windows around Madison Square Park, so more than in any other installation of Event Horizon, the occupants of the buildings will be aware of these three dimensional shadows at the edge of their field.”
“The level of visibility and the idea of the gaze, is the principle dynamic of the work; the idea of looking and finding, or looking and seeking, and in the process perhaps re-assessing your own position in the world.”
“One of the implications of Event Horizon is that people will have to entertain an uncertainty about the work’s scope: the spread and number of figures. Beyond those that you can actually see, how many more remain out of sight?”
ABOUT THE ARTIST:
For more than 25 years Antony Gormley has revitalized the human image in sculpture through a radical investigation of the body as a place of memory and transformation, using his own body as subject, tool, and material. Since 1990 he has expanded his concern with the human condition to explore the collective body and the relationship between self and other in large-scale installations such as Allotment, Another Place, Critical Mass, Domain Field, and Inside Australia. His work increasingly engages with energy systems, fields and vectors, rather than mass and defined volume, as evident in Another Singularity, Blind Light, Clearing, and Firmament. Gormley’s most recently acclaimed live artwork One and Other saw 2,400 participants representing every region of the UK each spend an hour on an empty plinth in London’s Trafalgar Square for 100 consecutive days.
Antony Gormley’s work has been exhibited extensively throughout the UK, with solo shows in venues such as the Whitechapel, Tate, and the Hayward Galleries, the British Museum and internationally at museums including the Museum of Modern Art, New York, the Los Angeles County Museum of Art, the Louisiana Museum in Humlebaek, the Corcoran Gallery of Art in Washington DC, Malmö Konsthall, the Moderna Museet in Stockholm, Kunsthaus Bregenz, Austria and Antiguo Colegio de San Ildefonso, Mexico City. He has also participated in group shows at the Venice Biennale and the Kassel Documenta 8. Antony Gormley is represented by Sean Kelly Gallery, New York and White Cube, London.
Born in 1950, Antony Gormley was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999 and was made an Order of the British Empire (OBE) in 1997. More recently, he was awarded the Bernhard Heiliger Award for Sculpture in 2007. He is an Honorary Fellow of the Royal Institute of British Architects, Trinity College, Cambridge and Jesus College, Cambridge, and has been a Royal Academician since 2003.
Visit www.antonygormley.com for more information.
For more info about Event Horizon, visit: eventhorizonnewyork.org
Something we hadn't counted on....this was a HUGE setback in the project, but Bruce took it on with (kind of :) good humor. That guy deserves a medal for what he accomplished.
The word "goose" is a direct descendent of Proto-Indo-European root, *ghans-. In Germanic languages, the root gave Old English gōs with the plural gēs and gandres (becoming Modern English goose, geese, gander, and gosling, respectively), Frisian goes, gies and guoske, New High German Gans, Gänse, and Ganter, and Old Norse gās.
This term also gave Lithuanian žąsìs, Irish gé (goose, from Old Irish géiss), Latin anser, Greek χήν/khēn, Dutch gans, Albanian gatë (heron), Sanskrit hamsa and hamsi, Finnish hanhi, Avestan zāō, Polish gęś, Ukrainian гуска and гусак, Russian гусыня and гусь, Czech husa, and Persian ghāz.
The term goose applies to the female in particular, while gander applies to the male in particular. Young birds before fledging are called goslings. The collective noun for a group of geese on the ground is a gaggle; when in flight, they are called a skein, a team, or a wedge; when flying close together, they are called a plump.
Chinese geese, the domesticated form of the swan goose
The three living genera of true geese are: Anser, grey geese, including the greylag goose, and domestic geese; Chen, white geese (often included in Anser); and Branta, black geese, such as the Canada goose.
Two genera of "geese" are only tentatively placed in the Anserinae; they may belong to the shelducks or form a subfamily on their own: Cereopsis, the Cape Barren goose, and Cnemiornis, the prehistoric New Zealand goose. Either these or, more probably, the goose-like Coscoroba swan is the closest living relative of the true geese.
Fossils of true geese are hard to assign to genus; all that can be said is that their fossil record, particularly in North America, is dense and comprehensively documents many different species of true geese that have been around since about 10 million years ago in the Miocene. The aptly named Anser atavus (meaning "progenitor goose") from some 12 million years ago had even more plesiomorphies in common with swans. In addition, some goose-like birds are known from subfossil remains found on the Hawaiian Islands.
Geese are monogamous, living in permanent pairs throughout the year; however, unlike most other permanently monogamous animals, they are territorial only during the short nesting season. Paired geese are more dominant and feed more, two factors that result in more young.
Other birds called "geese"
Cape Barren goose
Some mainly Southern Hemisphere birds are called "geese", most of which belong to the shelduck subfamily Tadorninae. These are:
Orinoco goose, Neochen jubata
Egyptian goose, Alopochen aegyptiacus
The South American sheldgeese, genus Chloephaga
The prehistoric Malagasy sheldgoose, Centrornis majori
The spur-winged goose, Plectropterus gambensis, is most closely related to the shelducks, but distinct enough to warrant its own subfamily, the Plectropterinae.
The blue-winged goose, Cyanochen cyanopterus, and the Cape Barren goose, Cereopsis novaehollandiae, have disputed affinities. They belong to separate ancient lineages that may ally either to the Tadorninae, Anserinae, or closer to the dabbling ducks (Anatinae).
The three species of small waterfowl in the genus Nettapus are named "pygmy geese". They seem to represent another ancient lineage, with possible affinities to the Cape Barren goose or the spur-winged goose.
A genus of prehistorically extinct seaducks, Chendytes, is sometimes called "diving-geese" due to their large size.[5]
The unusual magpie goose is in a family of its own, the Anseranatidae.
The northern gannet, a seabird, is also known as the "Solan goose", although it is a bird unrelated to the true geese, or any other Anseriformes for that matter.
Well-known sayings about geese include:
To "have a gander" is to examine something in detail.
"What's sauce for the goose is sauce for the gander" means that what is appropriate treatment for one person is equally appropriate for someone else.
Saying that someone's "goose is cooked" means that they have suffered, or are about to suffer, a terrible setback or misfortune.
"Killing the goose that lays the golden eggs," derived from an old fable, is a saying referring to any greed-motivated, unprofitable action that destroys or otherwise renders a favorable situation useless.
"A wild goose chase" is a useless, futile waste of time and effort.
There is a legendary old woman called Mother Goose who wrote nursery rhymes for children.
The top-seeded Army West Point Women’s Basketball team won its third Patriot League title with a 69-51 victory over No. 3 Loyola on Saturday evening at Christl Arena. Army secures the Patriot League’s automatic bid to the NCAA Tournament and will make its third appearance in the dance, following trips in 2006 and 2014.
Army extends its winning streak to 19 games and improves to 29-2. The Black Knights’ 29 win tie the 2009-10 Lehigh squad for the most total wins in Patriot League history. Loyola finishes the year 16-16 after the setback.
Senior Kelsey Minato earned Patriot League Tournament MVP honors for the second time in her career after scoring 25 points and shooting 4-of-8 from beyond the arc. Classmate Aimee Oertner and sophomore Janae McNeal joined Minato on the league’s all-tournament team, as Oertner posted a 14-point, 11-rebound double-double, to go along with four blocks, and McNeal totaled 12 points on 6-of-8 shooting.
Sophomore Destinee Morris netted eight points off the bench, while classmate Aliyah Murray and freshman Madison Hovren each contributed four points.
Diana Logan led Loyola with 15 points, while Colleen Marshall and Bri Betz-White also scored in double figures, with 12 points and 11 points, respectively.
Minato knocked in a three-pointer 2:28 into the contest to give Army a 5-2 advantage before sinking all three free-throws after being fouled on a long-range attempt with 5:03 to play in the first quarter. Her three foul shots made the score 10-4.
Oertner registered three blocks in the first 2:19 of the evening to limit Loyola’s offense early, as the Greyhounds were held to nine points in the opening frame.
McNeal converted lay-ups on consecutive possessions to cap a 9-0 Army run and extend the margin to 10 points, 14-4, with 3:41 remaining in the first period. The Black Knights went on to outscore the Greyhounds, 13-5, over the final 6:48 of the opening frame, as the hosts led, 20-9, at the end of one.
Logan scored the first seven points of the second quarter to begin a 9-0 run that brought Loyola back to within two, 20-18, with 6:45 left until halftime. Logan buried her second triple of the half to extend the scoring run to 12-0 and give the Greyhounds their first lead of the game, 21-20, with 6:12 remaining in the second period.
Army answered back with 10 straight points of its own, including three-pointers from Minato and Morris, to build the advantage to nine points, 30-21, by the 2:39 mark. Morris drained her second three-pointer of the quarter with 19 seconds remaining in the half to make the score 33-23 heading into the break.
The Black Knights maintained a 10-point advantage until building the lead to 14 after a pair of free-throws from Minato and a bucket from Oertner that came with 4:04 on the clock in the third quarter.
McNeal added lay-ins 22 seconds apart to build the hosts’ lead to 17, 47-30, before seven unanswered points from Loyola brought the Greyhounds back to within 10, 47-37, entering the fourth period.
Oertner netted four quick points to begin the fourth quarter and Minato hit a triple at the 7:59 mark to bring the score to 54-41. Loyola didn’t come any closer than 11 for the last 7:59 of the contest.
“This team has never ceased to amaze me this year,” said head coach Dave Magarity. “It’s mind blowing that we are 29-2 and the way we got here, the teams we beat and we thought we put together a pretty tough schedule with Albany, the conference champion in the America East, Quinnipiac won the MAAC regular season and they were huge wins for us and put us in position to get the one-seed as things worked out for us with the tiebreaker over a great Bucknell team.
“This group of young ladies has just accomplished so much with 99 wins over four years at this level is incredible and they just continue to do what it takes. You don’t want it to turn into a cliché with being a team of destiny, but we put together the right pieces. Janae McNeal and the junior class with Aliyah Murray and the Morris twins, as well, and I consider my coaching staff the best in America. It’s the best coaching staff I’ve ever had and I’ve had some pretty good coaches."
Story by Harrison Antognioni/Army Athletic Communications. Photos by Eric S. Bartelt/Pointer View and John Pellino/DPTMS VID
The Postcard
A postally unused postcard that was published prior to June 1918 by Rapid Art Photography of 28, White Rock, Hastings. The card has a divided back.
Hastings
Hastings is a large seaside town in East Sussex on the south coast, 24 miles (39 km) east of the county town of Lewes, and 53 mi (85 km) south east of London.
The town gives its name to the Battle of Hastings.
In the 19th. century, Hastings was a popular seaside resort, as the railway allowed tourists and visitors to reach the town.
Today, Hastings is a fishing port with the UK's largest beach-based fishing fleet. The fleet has been based on the same beach, below the cliffs, for at least 400, and possibly up to 600, years. Its longevity is attributed to the prolific fishing ground of Rye Bay nearby.
The town had a population of 92,855 in 2018.
Hastings in Pre-History
Evidence of prehistoric settlements has been found at the town site, including flint arrowheads and Bronze Age artefacts.
Iron Age forts have been excavated on both the East and West Hills. The settlement was already based on the port when the Romans arrived in Britain for the first time in 55 BC. They began to exploit the iron (Wealden rocks provide a plentiful supply of the ore), and shipped it out by boat.
Iron was worked locally at Beauport Park, to the north of the town. It employed up to a thousand men, and is thought to have been the third-largest mine in the Roman Empire.
With the departure of the Romans, the town suffered setbacks. The Beauport site was abandoned, and the town suffered attacks from nature and early adversaries.
The Sussex coast has always suffered from occasional violent storms, and with the additional hazard of longshore drift (the eastward movement of shingle along the coast), the coastline has been frequently changing. The original Roman port is probably now under the sea.
Medieval Hastings
The Battle of Hastings heralded the start of the Norman Conquest. The battle was fought on the 14th. October 1066, although it actually took place 8 miles (13 km) to the north at Senlac Hill, and William had landed on the coast between Hastings and Eastbourne at Pevensey.
Muslim scholar Muhammad al-Idrisi, writing circa 1153, described Hastings as:
"A town of large extent and many inhabitants,
flourishing and handsome, having markets,
workpeople and rich merchants".
Hastings and the Sea
By the end of the Saxon period, the port of Hastings had moved eastward to near the present town centre in the Priory Stream valley, whose entrance was protected by the White Rock headland (since demolished).
It was to be a short stay: Danish attacks and huge floods in 1011 and 1014 motivated the townspeople to relocate to the New Burgh.
In the Middle Ages Hastings became one of the Cinque Ports.
Much of the town and half of Hastings Castle was washed away in the South England flood of February 1287.
During a naval campaign of 1339, and again in 1377, the town was raided and burnt by the French, and seems then to have gone into a decline. As a port, Hastings' days were finished.
Hastings had suffered over the years from the lack of a natural harbour. Attempts were made to build a stone harbour during the reign of Elizabeth I, but the foundations were destroyed by the sea in terrible storms. Accordingly the town's fishing boats are still stored on, and launched from, the beach.
Hastings was then just a small fishing settlement, but it was soon discovered that the new taxes on luxury goods could be made profitable by smuggling; the town was ideally located for that purpose.
Near the castle ruins, on the West Hill, are St. Clement's Caves, partly natural, but mainly excavated by hand by smugglers from the soft sandstone.
Their trade came to an end with the period following the Napoleonic Wars, for the town became one of the most fashionable resorts in Britain, brought about by the so-called health-giving properties of seawater, as well as the local springs and Roman baths.
The double decker promenade that runs from Hastings Pier beyond Marine Court, with a break at Warrior Square, was built by the borough engineer Sidney Little.
The building of Pelham Crescent necessitated cutting away of the Castle Hill cliffs. Once that move away from the old town had begun, it led to the further expansion along the coast, eventually linking up with the new St. Leonards.
Judges Postcards
Between 1902 and 1919, Fred Judge FRPS photographed many of the town's events and disasters. These included storms, the first tram, the visit of the Lord Mayor of London, Hastings Marathon Race, and the pier fire of 1917.
Many of these images were produced as picture postcards by the firm he founded which is now known as Judges Postcards.
Hastings' Bathing Pool
In the 1930's, an Olympic-sized bathing pool was erected. Regarded in its day as one of the best open-air swimming and diving complexes in Europe, it later became a holiday camp before closing in 1986. It was demolished, but the area is still known by locals as "The Old Bathing Pool".
Hastings' Sunshine
Hastings, tied with Eastbourne, recorded the highest duration of sunshine of any month anywhere in the United Kingdom - 384 hours - in 1911.
A new record temperature of 34.7 °C (94.5 °F) was recorded for the town on the 19th. July 2022.
St. Leonards
The original part St. Leonards was bought by James Burton and laid out by his son, the architect Decimus Burton, in the early 19th. century as a new town: a place of elegant houses designed for the well-off.
It also included a central public garden, a hotel, an archery, assembly rooms and a church. Today's St. Leonards has extended well beyond that original design, although the original town still exists within it.
Priory Meadow Shopping Centre
Hastings' main shopping centre is the Priory Meadow Shopping Centre. It was built on the site of the old Central Recreation Ground which had played host to some Sussex CCC first-class fixtures, and famous cricketers such as Dr. W. G. Grace and Sir Don Bradman.
The Central Recreation Ground was one of England's oldest, most scenic and most famous cricket grounds. The first match was played there in 1864, and the last in 1989, after which the site was redeveloped into the shopping centre. The centre houses 56 stores, and covers around 420,000 square feet.
Marine Court
On the seafront at St. Leonards is Marine Court, a 1938 block of flats in the Art Deco style that was originally called 'The Ship' due to its style being based upon the ocean liner RMS Queen Mary.
Marine Court can be seen from 20 miles (32 km) away on a clear day from Eastbourne.
The Memorial
An important former landmark was the Memorial, a clock tower commemorating Albert the Prince Consort which stood for many years at the traffic junction in the town centre, but was demolished following an arson attack in the 1970's.
The Hastings Miniature Railway
The Hastings Miniature Railway operates along the beach from Rock-a-Nore to Marine Parade, and has provided tourist transport since 1948. The railway was considerably restored and re-opened in 2010.
Hastings' Tram Network
Hastings had a network of trams from 1905 to 1929. The trams ran as far as Bexhill, and were worked by overhead electric wires.
Notable People
Many notable figures were born, raised, or lived in Hastings, including computer scientist Alan Turing, poet Fiona Pitt-Kethley, actress Gwen Watford, comedian Jo Brand and Madness singer Suggs.
Additionally :
-- John Logie Baird lived in Hastings in the 1920's where he carried out experiments that led to the transmission of the first television image.
-- Robert Tressell wrote 'The Ragged-Trousered Philanthropists' in Hastings between 1906 and 1910.
-- Gareth Barry, who holds the record number of appearances in the Premier League, was born in Hastings.
-- The author who worked as Grey Owl was born In Hastings and lived there for several years.
-- Harry H. Corbett (Steptoe & Son) lived in Hastings up until his death in 1982.
-- Anna Brassey, a collector and feminist pioneer of early photography, was based in Hastings until her death in 1887.
Anna Brassey
Baroness Anna "Annie" Brassey was born in London on the 7th. October 1839. Annie was an English traveller and writer. Her bestselling book 'A Voyage in the Sunbeam, our Home on the Ocean for Eleven Months' (1878) describes a voyage around the world.
Anna Brassey - The Early Years
Annie Brassey was born Anna Allnutt. As a child, she faced serious health problems. In his preface to Annie's book 'The Last Voyage', her husband recalled that she suffered from an inherited "weakness of the chest", apparently a form of chronic bronchitis.
As a young woman, she also suffered severe burns when she stood too close to a fireplace and her skirt caught fire. It took six months for her to recover from them.
Annie's Marriage to Lord Brassey
In 1860, she married the English Member of Parliament Thomas Brassey (knighted in 1881, becoming Earl Brassey in 1886), with whom she lived near his Hastings constituency. Thomas was born in 1836 and died in 1918.
The couple had five children together before they travelled aboard their luxury yacht Sunbeam. The yacht was said to have been named after their daughter - Lady Constance Alberta - who was nicknamed Sunbeam; she died of scarlet fever, aged four, on the 24th. January 1873.
The golden figurehead of the yacht depicting Constance is at the National Maritime Museum, Greenwich, London.
Annie's Travels and Publications
'A Voyage in the Sunbeam', describing their journey round the world in 1876–1877 with a complement of 43, including family, friends and crew, ran through many English editions, and was translated into at least five languages.
Her accounts of later voyages include 'Sunshine and Storm in the East' (1880); 'In the Trades, the Tropics, and the Roaring Forties' (1885); and 'The Last Voyage' (1889, published posthumously).
Annie had published privately earlier works including 'A Flight of the Meteor', detailing two cruises in the Mediterranean on their earlier yacht Meteor, and 'A Voyage in the Eothen', a description of their travels to Canada and the United States in 1872.
In July 1881, King Kalākaua of Hawaii, who had been greatly pleased with her description of his kingdom, was entertained at Normanhurst Castle, and invested Lady Brassey with the Royal Order of Kapiolani.
Annie was also involved with the publication of Colonel Henry Stuart-Wortley's 'Tahiti, a Series of Photographs' (1882).
The Death and Legacy of Lady Brassey
Lady Brassey's last voyage on the Sunbeam was to India and Australia, undertaken in November 1886 in order to improve her health. On the way to Mauritius, Annie died of malaria at the age of 47 on the 14th. September 1887, and was buried at sea.
At home in England, she had performed charitable work, largely for the St. John Ambulance Association. Her collection of ethnographic and natural history material was shown in a museum at her husband's London house until it was moved to Hastings Museum in 1919. There are also several photograph albums and other ephemera held at Hastings Library.
However, the vast majority of her photograph albums are now housed in the Huntington Library, San Marino, California. The collection of 70 albums, each containing 72 to 80 thick board pages, contains pre-eminent examples of historical travel.
The albums contain works by Annie and others she collected, including those of commercial photographers. Annie herself was an accomplished photographer. She joined the Royal Photographic Society in 1873 and remained a member until her death. She exhibited some of her work in its exhibitions in 1873 and 1886.
Lady Brassey was survived by four of her five children:
-- Thomas Brassey, 2nd Earl Brassey
-- Lady Mabelle Brassey
-- Muriel Sackville, Countess De La Warr
-- Marie Freeman-Thomas, Marchioness of Willingdon.
Ceiling in front of the lifts
Decke vor den Aufzügen
The Chrysler Building is an Art Deco skyscraper on the East Side of Manhattan in New York City, at the intersection of 42nd Street and Lexington Avenue in Midtown Manhattan. At 1,046 ft (319 m), it is the tallest brick building in the world with a steel framework, and it was the world's tallest building for 11 months after its completion in 1930. As of 2019, the Chrysler is the 12th-tallest building in the city, tied with The New York Times Building.
Originally a project of real estate developer and former New York State Senator William H. Reynolds, the building was commissioned by Walter Chrysler, the head of the Chrysler Corporation. The construction of the Chrysler Building, an early skyscraper, was characterized by a competition with 40 Wall Street and the Empire State Building to become the world's tallest building. The Chrysler Building was designed and funded by Walter Chrysler personally as a real estate investment for his children, but it was not intended as the Chrysler Corporation's headquarters. An annex was completed in 1952, and the building was sold by the Chrysler family the next year, with numerous subsequent owners.
When the Chrysler Building opened, there were mixed reviews of the building's design, some calling it inane and unoriginal, others hailing it as modernist and iconic. Reviewers in the late 20th and early 21st centuries regarded the building as a paragon of the Art Deco architectural style. In 2007, it was ranked ninth on the American Institute of Architects' list of America's Favorite Architecture. The facade and interior became New York City designated landmarks in 1978, and the structure was added to the National Register of Historic Places as a National Historic Landmark in 1976.
Site
The Chrysler Building is on the eastern side of Lexington Avenue between 42nd and 43rd streets in Midtown Manhattan in New York City. The land was donated to The Cooper Union for the Advancement of Science and Art in 1902. The site is roughly a trapezoid with a 201-foot-long (61 m) frontage on Lexington Avenue; a 167-foot-long (51 m) frontage on 42nd Street; and a 205-foot-long (62 m) frontage on 43rd Street. The site bordered the old Boston Post Road, which predated, and ran aslant of, the Manhattan street grid established by the Commissioners' Plan of 1811. As a result, the east side of the building's base is similarly aslant. The building is assigned its own ZIP Code, 10174. It is one of 41 buildings in Manhattan that have their own ZIP Codes, as of 2019.
The Grand Hyatt New York hotel and the Graybar Building are across Lexington Avenue, while the Socony–Mobil Building is across 42nd Street. In addition, the Chanin Building is to the southwest, diagonally across Lexington Avenue and 42nd Street.
Architecture
The Chrysler Building was designed by William Van Alen in the Art Deco style and is named after one of its original tenants, automotive executive Walter Chrysler. With a height of 1,046 feet (319 m), the Chrysler is the 12th-tallest building in the city as of 2019, tied with The New York Times Building. The building is constructed of a steel frame infilled with masonry, with areas of decorative metal cladding. The structure contains 3,862 exterior windows. Approximately fifty metal ornaments protrude at the building's corners on five floors reminiscent of gargoyles on Gothic cathedrals. The 31st-floor contains gargoyles[26] as well as replicas of the 1929 Chrysler radiator caps, and the 61st-floor is adorned with eagles as a nod to America's national bird.
The design of the Chrysler Building makes extensive use of bright "Nirosta" stainless steel, an austenitic alloy developed in Germany by Krupp. It was the first use of this "18-8 stainless steel" in an American project, composed of 18% chromium and 8% nickel. Nirosta was used in the exterior ornaments, the window frames, the crown, and the needle. The steel was an integral part of Van Alen's design, as E.E. Thum explains: "The use of permanently bright metal was of greatest aid in the carrying of rising lines and the diminishing circular forms in the roof treatment, so as to accentuate the gradual upward swing until it literally dissolves into the sky...." Stainless steel producers used the Chrysler Building to evaluate the durability of the product in architecture. In 1929, the American Society for Testing Materials created an inspection committee to study its performance, which regarded the Chrysler Building as the best location to do so; a subcommittee examined the building's panels every five years until 1960, when the inspections were canceled because the panels had shown minimal deterioration.
Form
The Chrysler Building's height and legally mandated setbacks influenced Van Alen in his design. The walls of the lowermost sixteen floors rise directly from the sidewalk property lines, except for a recess on one side that gives the building a U-shaped floor plan above the fourth floor. There are setbacks on floors 16, 18, 23, 28, and 31, making the building compliant with the 1916 Zoning Resolution. This gives the building the appearance of a ziggurat on one side and a U-shaped palazzo on the other. Above the 31st floor, there are no more setbacks until the 60th floor, above which the structure is funneled into a Maltese cross shape that "blends the square shaft to the finial", according to author and photographer Cervin Robinson.
The floor plans of the first sixteen floors were made as large as possible to optimize the amount of rental space nearest ground level, which was seen as most desirable. The U-shaped cut above the fourth floor served as a shaft for air flow and illumination. The area between floors 28 and 31 added "visual interest to the middle of the building, preventing it from being dominated by the heavy detail of the lower floors and the eye-catching design of the finial. They provide a base to the column of the tower, effecting a transition between the blocky lower stories and the lofty shaft."
Facade
Base and shaft
The ground floor exterior is covered in polished black granite from Shastone, while the three floors above it are clad in white marble from Georgia. There are two main entrances, on Lexington Avenue and on 42nd Street, each three floors high with Shastone granite surrounding each proscenium-shaped entryway. At some distance into each main entryway, there are revolving doors "beneath intricately patterned metal and glass screens", designed so as to embody the Art Deco tenet of amplifying the entrance's visual impact. A smaller side entrance on 43rd Street is one story high. There are storefronts consisting of large Nirosta-steel-framed windows at ground level. Office windows penetrate the second through fourth floors.
The west and east elevations contain the air shafts above the fourth floor, while the north and south sides contain the receding setbacks. Below the 16th floor, the facade is clad with white brick, interrupted by white-marble bands in a manner similar to basket weaving. The inner faces of the brick walls are coated with a waterproof grout mixture measuring about 1⁄16 inch (1.6 mm) thick. The windows, arranged in grids, do not have window sills, the frames being flush with the facade. Between the 16th and 24th floors, the exterior exhibits vertical white brick columns that are separated by windows on each floor. This visual effect is made possible by the presence of aluminum spandrels between the columns of windows on each floor. There are abstract reliefs on the 20th through 22nd-floor spandrels, while the 24th floor contains 9-foot (2.7 m) decorative pineapples.
Above the third setback, consisting of the 24th through 27th floors, the facade contains horizontal bands and zigzagged gray-and-black brick motifs. The section above the fourth setback, between the 27th and 31st floors, serves as a podium for the main shaft of the building. There are Nirosta-steel decorations above the setbacks. At each corner of the 31st floor, large car-hood ornaments were installed to make the base look larger. These corner extensions help counter a common optical illusion seen in tall buildings with horizontal bands, whose taller floors would normally look larger. The 31st floor also contains a gray and white frieze of hubcaps and fenders, which both symbolize the Chrysler Corporation and serves as a visual signature of the building's Art Deco design. The bonnet embellishments take the shape of Mercury's winged helmet and resemble hood ornaments installed on Chrysler vehicles at the time.
The shaft of the tower was designed to emphasize both the horizontal and vertical: each of the tower's four sides contains three columns of windows, each framed by bricks and an unbroken marble pillar that rises along the entirety of each side. The spandrels separating the windows contain "alternating vertical stripes in gray and white brick", while each corner contains horizontal rows of black brick.
Crown and spire
The Chrysler Building is renowned for, and recognized by its terraced crown, which is an extension of the main tower. Composed of seven radiating terraced arches, Van Alen's design of the crown is a cruciform groin vault of seven concentric members with transitioning setbacks. The entire crown is clad with Nirosta steel, ribbed and riveted in a radiating sunburst pattern with many triangular vaulted windows, reminiscent of the spokes of a wheel. The windows are repeated, in smaller form, on the terraced crown's seven narrow setbacks. Due to the curved shape of the dome, the Nirosta sheets had to be measured on site, so most of the work was carried out in workshops on the building's 67th and 75th floors. According to Robinson, the terraced crown "continue[s] the wedding-cake layering of the building itself. This concept is carried forward from the 61st floor, whose eagle gargoyles echo the treatment of the 31st, to the spire, which extends the concept of 'higher and narrower' forward to infinite height and infinitesimal width. This unique treatment emphasizes the building's height, giving it an other worldly atmosphere reminiscent of the fantastic architecture of Coney Island or the Far East."
Television station WCBS-TV (Channel 2) originated its transmission from the top of the Chrysler Building in 1938. WCBS-TV transmissions were shifted to the Empire State Building in 1960 in response to competition from RCA's transmitter on that building. For many years WPAT-FM and WTFM (now WKTU) also transmitted from the Chrysler Building, but their move to the Empire State Building by the 1970s ended commercial broadcasting from the structure.
The crown and spire are illuminated by a combination of fluorescent lights framing the crown's distinctive triangular windows and colored floodlights that face toward the building, allowing it to be lit in a variety of schemes for special occasions.The V-shaped fluorescent "tube lighting" – hundreds of 480V 40W bulbs framing 120 window openings – was added in 1981, although it had been part of the original design. Until 1998, the lights were turned off at 2 a.m., but The New York Observer columnist Ron Rosenbaum convinced Tishman Speyer to keep the lights on until 6 a.m. Since 2015, the Chrysler Building and other city skyscrapers have been part of the Audubon Society's Lights Out program, turning off their lights during bird migration seasons.
History
In the mid-1920s, New York's metropolitan area surpassed London's as the world's most populous metropolitan area and its population exceeded ten million by the early 1930s. The era was characterized by profound social and technological changes. Consumer goods such as radio, cinema, and the automobile became widespread. In 1927, Walter Chrysler's automotive company, the Chrysler Corporation, became the third-largest car manufacturer in the United States, behind Ford and General Motors. The following year, Chrysler was named Time magazine's "Person of the Year".
The economic boom of the 1920s and speculation in the real estate market fostered a wave of new skyscraper projects in New York City. The Chrysler Building was built as part of an ongoing building boom that resulted in the city having the world's tallest building from 1908 to 1974. Following the end of World War I, European and American architects came to see simplified design as the epitome of the modern era and Art Deco skyscrapers as symbolizing progress, innovation, and modernity. The 1916 Zoning Resolution restricted the height that street-side exterior walls of New York City buildings could rise before needing to be setback from the street. This led to the construction of Art Deco structures in New York City with significant setbacks, large volumes, and striking silhouettes that were often elaborately decorated. Art Deco buildings were constructed for only a short period of time; but because that period was during the city's late-1920s real estate boom, the numerous skyscrapers built in the Art Deco style predominated in the city skyline, giving it the romantic quality seen in films and plays.[The Chrysler Building project was shaped by these circumstances.
Development
Originally, the Chrysler Building was to be the Reynolds Building, a project of real estate developer and former New York state senator William H. Reynolds. Prior to his involvement in planning the building, Reynolds was best known for developing Coney Island's Dreamland amusement park. When the amusement park was destroyed by a fire in 1911, Reynolds turned his attention to Manhattan real estate, where he set out to build the tallest building in the world.
Planning
In 1921, Reynolds rented a large plot of land at the corner of Lexington Avenue and 42nd Street with the intention of building a tall building on the site. Reynolds did not develop the property for several years, prompting the Cooper Union to try to increase the assessed value of the property in 1924. The move, which would force Reynolds to pay more rent, was unusual because property owners usually sought to decrease their property assessments and pay fewer taxes. Reynolds hired the architect William Van Alen to design a forty-story building there in 1927. Van Alen's original design featured many Modernist stylistic elements, with glazed, curved windows at the corners.
Van Alen was respected in his field for his work on the Albemarle Building at Broadway and 24th Street, designing it in collaboration with his partner H. Craig Severance. Van Alen and Severance complemented each other, with Van Alen being an original, imaginative architect and Severance being a shrewd businessperson who handled the firm's finances. The relationship between them became tense over disagreements on how best to run the firm. A 1924 article in the Architectural Review, praising the Albemarle Building's design, had mentioned Van Alen as the designer in the firm and ignored Severance's role. The architects' partnership dissolved acrimoniously several months later, with lawsuits over the firm's clients and assets lasting over a year. The rivalry influenced the design of the future Chrysler Building, since Severance's more traditional architectural style would otherwise have restrained Van Alen's more modern outlook.
Refinement of designs
By February 2, 1928, the proposed building's height had been increased to 54 stories, which would have made it the tallest building in Midtown. The proposal was changed again two weeks later, with official plans for a 63-story building. A little more than a week after that, the plan was changed for the third time, with two additional stories added. By this time, 42nd Street and Lexington Avenue were both hubs for construction activity, due to the removal of the Third Avenue Elevated's 42nd Street spur, which was seen as a blight on the area. The adjacent 56-story Chanin Building was also under construction. Because of the elevated spur's removal, real estate speculators believed that Lexington Avenue would become the "Broadway of the East Side", causing a ripple effect that would spur developments farther east.
In April 1928, Reynolds signed a 67-year lease for the plot and finalized the details of his ambitious project. Van Alen's original design for the skyscraper called for a base with first-floor showroom windows that would be triple-height, and above would be 12 stories with glass-wrapped corners, to create the impression that the tower was floating in mid-air. Reynolds's main contribution to the building's design was his insistence that it have a metallic crown, despite Van Alen's initial opposition; the metal-and-crystal crown would have looked like "a jeweled sphere" at night. Originally, the skyscraper would have risen 808 feet (246 m), with 67 floors. These plans were approved in June 1928. Van Alen's drawings were unveiled in the following August and published in a magazine run by the American Institute of Architects (AIA).
Reynolds ultimately devised an alternate design for the Reynolds Building, which was published in August 1928. The new design was much more conservative, with an Italianate dome that a critic compared to Governor Al Smith's bowler hat, and a brick arrangement on the upper floors that simulated windows in the corners, a detail that remains in the current Chrysler Building. This design almost exactly reflected the shape, setbacks, and the layout of the windows of the current building, but with a different dome.
Final plans and start of construction
With the design complete, groundbreaking for the Reynolds Building took place on September 19, 1928, but by late 1928, Reynolds did not have the means to carry on construction. Walter Chrysler offered to buy the building in early October 1928, and Reynolds sold the plot, lease, plans, and architect's services to Chrysler on October 15, 1928, for more than $2.5 million. That day, the Goodwin Construction Company began demolition of what had been built. A contract was awarded on October 28, and demolition was completed on November 9. Chrysler's initial plans for the building were similar to Reynolds's, but with the 808-foot building having 68 floors instead of 67. The plans entailed a ground-floor pedestrian arcade; a facade of stone below the fifth floor and brick-and-terracotta above; and a three-story bronze-and-glass "observation dome" at the top. However, Chrysler wanted a more progressive design, and he worked with Van Alen to redesign the skyscraper to be 925 ft (282 m) tall. At the new height, Chrysler's building would be taller than the 792-foot (241 m) Woolworth Building, a building in lower Manhattan that was the world's tallest at the time. At one point, Chrysler had requested that Van Alen shorten the design by ten floors, but reneged on that decision after realizing that the increased height would also result in increased publicity.
From late 1928 to early 1929, modifications to the design of the dome continued. In March 1929, the press published details of an "artistic dome" that had the shape of a giant thirty-pointed star, which would be crowned by a sculpture five meters high. The final design of the dome included several arches and triangular windows. Lower down, various architectural details were modeled after Chrysler automobile products, such as the hood ornaments of the Plymouth (see § Designs between setbacks). The building's gargoyles on the 31st floor and the eagles on the 61st floor, were created to represent flight, and to embody the machine age of the time. Even the topmost needle was built using a process similar to one Chrysler used to manufacture his cars, with precise "hand craftmanship". In his autobiography, Chrysler says he suggested that his building be taller than the Eiffel Tower.
Meanwhile, excavation of the new building's 69-foot-deep (21 m) foundation began in mid-November 1928 and was completed in mid-January 1929, when bedrock was reached. A total of 105,000,000 pounds (48,000,000 kg) of rock and 36,000,000 pounds (16,000,000 kg) of soil were excavated for the foundation, equal to 63% of the future building's weight. Construction of the building proper began on January 21, 1929. The Carnegie Steel Company provided the steel beams, the first of which was installed on March 27; and by April 9, the first upright beams had been set into place. The steel structure was "a few floors" high by June 1929, 35 floors high by early August, and completed by September. Despite a frantic steelwork construction pace of about four floors per week, no workers died during the construction of the skyscraper's steelwork. Chrysler lauded this achievement, saying, "It is the first time that any structure in the world has reached such a height, yet the entire steel construction was accomplished without loss of life". In total, 391,881 rivets were used, and approximately 3,826,000 bricks were laid to create the non-loadbearing walls of the skyscraper. Walter Chrysler personally financed the construction with his income from his car company. The Chrysler Building's height officially surpassed the Woolworth's on October 16, 1929, thereby becoming the world's tallest structure.
Completion
In January 1930, it was announced that the Chrysler Corporation would maintain satellite offices in the Chrysler Building during Automobile Show Week. The skyscraper was never intended to become the Chrysler Corporation's headquarters, which remained in Detroit. The first leases by outside tenants were announced in April 1930, before the building was officially completed. The building was formally opened on May 27, 1930, in a ceremony that coincided with the 42nd Street Property Owners and Merchants Association's meeting that year. In the lobby of the building, a bronze plaque that read "in recognition of Mr. Chrysler's contribution to civic advancement" was unveiled. Former Governor Smith, former Assemblyman Martin G. McCue, and 42nd Street Association president George W. Sweeney were among those in attendance. By June, it was reported that 65% of the available space had been leased. By August, the building was declared complete, but the New York City Department of Construction did not mark it as finished until February 1932.
The added height of the spire allowed the Chrysler Building to surpass 40 Wall Street as the tallest building in the world and the Eiffel Tower as the tallest structure. The Chrysler Building was thus the first man-made structure to be taller than 1,000 feet (300 m); and as one newspaper noted, the tower was also taller than the highest points of five states. The tower remained the world's tallest for 11 months after its completion. The Chrysler Building was appraised at $14 million, but was exempt from city taxes per an 1859 law that gave tax exemptions to sites owned by the Cooper Union. The city had attempted to repeal the tax exemption, but Cooper Union had opposed that measure. Because the Chrysler Building retains the tax exemption, it has paid Cooper Union for the use of their land since opening. While the Chrysler Corporation was a tenant, it was not involved in the construction or ownership of the Chrysler Building; rather, the tower was a project of Walter P. Chrysler for his children. In his autobiography, Chrysler wrote that he wanted to erect the building "so that his sons would have something to be responsible for".
Van Alen's satisfaction at these accomplishments was likely muted by Walter Chrysler's later refusal to pay the balance of his architectural fee. Chrysler alleged that Van Alen had received bribes from suppliers, and Van Alen had not signed any contracts with Walter Chrysler when he took over the project. Van Alen sued and the courts ruled in his favor, requiring Chrysler to pay Van Alen $840,000, or six percent of the total budget of the building. However, the lawsuit against Chrysler markedly diminished Van Alen's reputation as an architect, which, along with the effects of the Great Depression and negative criticism, ended up ruining his career. Van Alen ended his career as professor of sculpture at the nearby Beaux-Arts Institute of Design and died in 1954. According to author Neal Bascomb, "The Chrysler Building was his greatest accomplishment, and the one that guaranteed his obscurity."
The Chrysler Building's distinction as the world's tallest building was short-lived. John Raskob realized the 1,050-foot Empire State Building would only be 4 feet (1.2 m) taller than the Chrysler Building, and Raskob was afraid that Walter Chrysler might try to "pull a trick like hiding a rod in the spire and then sticking it up at the last minute." Another revision brought the Empire State Building's roof to 1,250 feet (380 m), making it the tallest building in the world by far when it opened on May 1, 1931. However, the Chrysler Building is still the world's tallest steel-supported brick building. The Chrysler Building fared better commercially than the Empire State Building did: by 1935, the Chrysler had already rented 70 percent of its floor area. By contrast, Empire State had only leased 23 percent of its space and was popularly derided as the "Empty State Building".
Impact
Reception
The completed Chrysler Building garnered mixed reviews in the press. Van Alen was hailed as the "Doctor of Altitude" by Architect magazine, while architect Kenneth Murchison called Van Alen the "Ziegfeld of his profession", comparing him to popular Broadway producer Florenz Ziegfeld Jr. The building was praised for being "an expression of the intense activity and vibrant life of our day", and for "teem[ing] with the spirit of modernism, ... the epitome of modern business life, stand[ing] for progress in architecture and in modern building methods." An anonymous critic wrote in Architectural Forum's October 1930 issue: "The Chrysler...stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambitions and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards."
The journalist George S. Chappell called the Chrysler's design "distinctly a stunt design, evolved to make the man in the street look up". Douglas Haskell stated that the building "embodies no compelling, organic idea", and alleged that Van Alen had abandoned "some of his best innovations in behalf of stunts and new 'effects'". Others compared the Chrysler Building to "an upended swordfish", or claimed it had a "Little Nemo"-like design. Lewis Mumford, a supporter of the International Style and one of the foremost architectural critics of the United States at the time, despised the building for its "inane romanticism, meaningless voluptuousness, [and] void symbolism". The public also had mixed reviews of the Chrysler Building, as Murchison wrote: "Some think it's a freak; some think it's a stunt."
Later reviews were more positive. Architect Robert A. M. Stern wrote that the Chrysler Building was "the most extreme example of the [1920s and 1930s] period's stylistic experimentation", as contrasted with 40 Wall Street and its "thin" detailing. George H. Douglas wrote in 2004 that the Chrysler Building "remains one of the most appealing and awe-inspiring of skyscrapers". Architect Le Corbusier called the building "hot jazz in stone and steel". Architectural critic Ada Louise Huxtable stated that the building had "a wonderful, decorative, evocative aesthetic", while Paul Goldberger noted the "compressed, intense energy" of the lobby, the "magnificent" elevators, and the "magical" view from the crown. Anthony W. Robins said the Chrysler Building was "one-of-a-kind, staggering, romantic, soaring, the embodiment of 1920s skyscraper pizzazz, the great symbol of Art Deco New York".
The LPC said that the tower "embodies the romantic essence of the New York City skyscraper". Pauline Frommer, in the travel guide Frommer's, gave the building an "exceptional" recommendation, saying: "In the Chrysler Building we see the roaring-twenties version of what Alan Greenspan called 'irrational exuberance'—a last burst of corporate headquarter building before stocks succumbed to the thudding crash of 1929."
As icon
The Chrysler Building appears in several films set in New York and is widely considered one of the most positively acclaimed buildings in the city. A 1996 survey of New York architects revealed it as their favorite, and The New York Times described it in 2005 as "the single most important emblem of architectural imagery on the New York skyline". In mid-2005, the Skyscraper Museum in Lower Manhattan asked 100 architects, builders, critics, engineers, historians, and scholars, among others, to choose their 10 favorites among 25 of the city's towers. The Chrysler Building came in first place, with 90 respondents placing it on their ballots. In 2007, the building ranked ninth among 150 buildings in the AIA's List of America's Favorite Architecture.
The Chrysler Building is widely heralded as an Art Deco icon. Fodor's New York City 2010 described the building as being "one of the great art deco masterpieces" which "wins many a New Yorker's vote for the city's most iconic and beloved skyscraper". Frommer's states that the Chrysler was "one of the most impressive Art Deco buildings ever constructed". Insight Guides' 2016 edition maintains that the Chrysler Building is considered among the city's "most beautiful" buildings. Its distinctive profile has inspired similar skyscrapers worldwide, including One Liberty Place in Philadelphia, Two Prudential Plaza in Chicago, and the Al Kazim Towers in Dubai. In addition, the New York-New York Hotel and Casino in Paradise, Nevada, contains the "Chrysler Tower", a replica of the Chrysler Building measuring 35 or 40 stories tall. A portion of the hotel's interior was also designed to resemble the Chrysler Building's interior.
In media
While seen in many films, the Chrysler Building almost never appears as a main setting in them, prompting architect and author James Sanders to quip it should win "the Award for Best Supporting Skyscraper". The building was supposed to be featured in the 1933 film King Kong, but only makes a cameo at the end thanks to its producers opting for the Empire State Building in a central role. The Chrysler Building notably appears in the background of The Wiz (1978); as the setting of much of Q - The Winged Serpent (1982); in the initial credits of The Shadow of the Witness (1987); and during or after apocalyptic events in Independence Day (1996), Armageddon (1998), Deep Impact (1998), Godzilla (1998), and A.I. Artificial Intelligence (2001). The building also appears in other films, such as Spider-Man (2002), Fantastic Four: Rise of the Silver Surfer (2007), Two Weeks Notice (2002), The Sorcerer's Apprentice (2010), The Avengers (2012) and Men in Black 3 (2012). The building is mentioned in the number "It's the Hard Knock Life" for the musical Annie, and it is the setting for the post-game content in the Squaresoft video game Parasite Eve.
The Chrysler Building is frequently a subject of photographs. In December 1929, Walter Chrysler hired Margaret Bourke-White to take publicity images from a scaffold 400 feet (120 m) high. She was deeply inspired by the new structure and especially smitten by the massive eagle's-head figures projecting off the building. In her autobiography, Portrait of Myself, Bourke-White wrote, "On the sixty-first floor, the workmen started building some curious structures which overhung 42nd Street and Lexington Avenue below. When I learned these were to be gargoyles à la Notre Dame, but made of stainless steel as more suitable for the twentieth century, I decided that here would be my new studio. There was no place in the world that I would accept as a substitute."
According to one account, Bourke-White wanted to live in the building for the duration of the photo shoot, but the only person able to do so was the janitor, so she was instead relegated to co-leasing a studio with Time Inc. In 1930, several of her photographs were used in a special report on skyscrapers in the then-new Fortune magazine. Bourke-White worked in a 61st-floor studio designed by John Vassos until she was evicted in 1934. In 1934, Bourke-White's partner Oscar Graubner took a famous photo called "Margaret Bourke-White atop the Chrysler Building", which depicts her taking a photo of the city's skyline while sitting on one of the 61st-floor eagle ornaments. On October 5, 1998, Christie's auctioned the photograph for $96,000. In addition, during a January 1931 dance organized by the Society of Beaux-Arts, six architects, including Van Alen, were photographed while wearing costumes resembling the buildings that each architect designed.
(Wikipedia)
Das Chrysler Building ist ein 1930 fertiggestellter Wolkenkratzer im Stil des Art déco in Manhattan in New York City und zählt zu den Wahrzeichen der Metropole.
Der Büroturm befindet sich im Viertel Turtle Bay an der Lexington Avenue, Ecke 42nd Street in Midtown Manhattan. Er steht auf einem Grundstück der privaten Hochschule Cooper Union, hat die Adresse „405 Lexington Avenue“ und ist nur einen Block vom Grand Central Terminal entfernt. Schräg gegenüber steht mit dem Chanin Building ein weiterer bekannter Wolkenkratzer im Art-déco-Stil.
Das Chrysler Building ist 318,8 Meter (1046 Fuß) hoch und damit zusammen mit dem 2007 erbauten New York Times Tower auf Rang 13 der höchsten Gebäude in New York City. Unter den höchsten Gebäuden der Vereinigten Staaten nehmen beide Gebäude den 21. Rang ein (jeweils Stand 2023). Auftraggeber war Walter Percy Chrysler, der es ursprünglich für die Chrysler Corporation zwischen 1928 und 1930 bauen ließ. Für die Planung des Wolkenkratzers im Art-déco-Stil war der Architekt William Van Alen verantwortlich. Das Gebäude zählt zu den schönsten Wolkenkratzern jener Epoche.
Geschichte
Entstehungsbedingungen
Das Chrysler Building im Stadtkontext, gesehen vom Empire State Building aus. Weiter rechts der Trump World Tower
Paradoxerweise entstanden viele Wolkenkratzer in der Zeit der Weltwirtschaftskrise. Das liegt zum einen an der Hochphase vor der Krise: Das Bruttosozialprodukt der USA war nach dem Ersten Weltkrieg innerhalb von acht Jahren um 50 % gestiegen, und dieser Konjunktursprung führte zu zahlreichen Neubauten und Planungen von Geschäftshäusern. Zum anderen kamen den Bauherren bei der anschließenden Ausführung während der Krise die radikal gesunkenen Arbeitslöhne nach dem Börsencrash 1929 zugute. Sie konnten für das gleiche Geld wesentlich mehr Arbeiter einstellen als geplant. Die Macht der Gewerkschaften war gebrochen, die Arbeitslöhne waren niedrig, Arbeiter standen in Massen zur Verfügung. Ein Gebäude dieses Ausmaßes hätte unter normalen Verhältnissen in dieser kurzen Bauzeit nicht errichtet werden können. Pro Woche wurden durchschnittlich vier Stockwerke errichtet, für die damaligen Verhältnisse ein Rekord. (Ähnliche Effekte konnte man auch später beobachten: Das höchste Gebäude der Welt, der Burj Khalifa in Dubai, wurde 2010, in der Zeit der Finanzkrise, fertig. Geplant wurde er jedoch vor dem Wirtschaftsabschwung.)
Baugeschichte
Obwohl das Gebäude speziell für den Autohersteller Chrysler konstruiert und gebaut wurde, bezahlte die Firma weder für den Bau, noch besaß sie es jemals. Walter P. Chrysler hatte entschieden, privat dafür aufzukommen, um es an seine Kinder weitergeben zu können.
Die Grundsteinlegung für das Gebäude fand am 19. September 1928 statt. Am 27. Mai 1930 wurde es feierlich eingeweiht. Mit 319 Metern war es bei der Eröffnung das höchste Gebäude der Welt und auch das erste, das die 1000-Fuß-Marke (305 Meter) durchbrach. Bis zum Dach misst es 282 Meter; da die Metallspitze aber zur Grundstruktur des Gebäudes gehört, wird sie zur offiziellen Höhe mitgezählt.
Während der Erbauung hatte es bis in die letzten Tage einen Wettlauf mit dem Turm der Bank of Manhattan (heute 40 Wall Street oder The Trump Building) gegeben, den das Chrysler Building für sich entschied. Der Architekt William Van Alen hatte 1930 die 56 Meter hohe Spitze bis zum letzten Moment geheim gehalten, damit der Konkurrent, die Bank of Manhattan, deren Gebäude gerade 283 Meter Höhe erreicht hatte, nicht mehr reagieren konnte. Die einzelnen Bestandteile dieser Metallspitze waren im Heizungsschacht des Gebäudes zunächst gelagert und vormontiert worden. Dann wurden die riesigen Stahlplatten heimlich auf das 65. Geschoss gebracht, dort zusammengeschraubt und anschließend in einem Stück mit einem Drehkran auf das Gebäude aufgesetzt, das damit 319 Meter Höhe erreichte und die Konkurrenz deutlich übertrumpfte. Dieses Unterfangen dauerte weniger als 1½ Stunden. Dieser Stahlaufbau, genannt „Vortex“ (lat. Wirbel, Drehung), dient lediglich als Dekoration, wiegt 30 Tonnen und ist ein Beispiel des Art déco.
Allerdings blieb das Chrysler Building nur kurz das höchste Gebäude der Welt. 1931 wurde in Midtown Manhattan das Empire State Building mit einer Höhe von 381 Metern fertiggestellt und war damit deutlich höher als alle anderen Gebäude. Bis zum Jahr 1969 blieb das Chrysler Building jedoch der zweithöchste Wolkenkratzer der Welt und gehörte noch bis in die späten 1990er Jahre zu den „Top Ten“ der weltweit höchsten Gebäude.
Spätere Entwicklung
Im 67. Stockwerk befand sich eine besonders während der Prohibition bekannte Restaurant-Bar, der so genannte Cloud Club, in der ehemaligen ‚Wohnung‘ des Firmengründers Walter P. Chrysler.
Lediglich die Lobby des Chrysler Building ist der Öffentlichkeit zur Besichtigung zugänglich (inkl. eigenem Subway-Zugang, jedoch nur werktags). Um zu den noch im Stil des Art déco gehaltenen Aufzügen zu gelangen, braucht man einen speziellen Ausweis oder einen Termin bei einer der dort ansässigen Firmen.
Nach dem Tod von Walter P. Chrysler 1940 kam das Gebäude zur W.P Chrysler Building Corporation, die es zusammen mit der Erbenfamilie 1953 für 18 Millionen US-Dollar an den Immobilienmakler William Zeckendorf verkaufte. 1960 erwarben die Immobilieninvestoren Sol Goldman und Alex DiLorenzo mittels Finanzierung durch die Massachusetts Mutual Life Insurance Company (MassMutual) das Gebäude. Die wiederum übernahm 1975 die Anteile für 35 Millionen US-Dollar. Im Dezember 1976 wurde das Hochhaus zur National Historic Landmark erklärt.
Bis 1979 wurde das Gebäude für rund 23 Millionen US-Dollar komplett renoviert. Im September 1979 wurde es von Jack Kent Cooke übernommen. Nach dem Tod von Cooke 1997 übernahm das Immobilienunternehmen Tishman Speyer Properties zusammen mit The Travelers Companies, Inc. (ab 1998 Teil der Citigroup) das Gebäude für eine geschätzte Summe von 210 bis 250 Millionen US-Dollar (187 bis 223 Millionen Euro). Im März 2001 übernahm die deutsche Investmentgesellschaft TMW Immobilien AG[5] aus München über ihre US-amerikanische Tochter für rund 390 Millionen US-Dollar rund 75 Prozent des Gebäudes. Zu den größten Anteilseignern der TMW gehörten der Ergo Trust der Ergo Group, die Provinzial Versicherung sowie drei deutsche Privatbanken.
Zwischen Herbst 2001 und Juli 2008 befand sich das Gebäude im Besitz der zur Ergo Group gehörenden GVP Gesellschaft für Vertriebs- und Produktmanagement AG (heute Ideenkapital Financial Service AG) aus Düsseldorf, die hierfür einen geschlossenen Immobilienfonds (ProVictor) auflegte. Sie verkaufte das Gebäude zu einem Anteil von 90 Prozent am 9. Juli 2008 an den Staatsfonds Abu Dhabi Investment Council (Mubadala) für 800 Millionen US-Dollar (713 Millionen Euro).
Reuters-Informationen zufolge wurde im März 2019 das sanierungsbedürftige Chrysler Building für lediglich 150 Millionen US-Dollar an ein Unternehmen verkauft, das je zur Hälfte der österreichischen Signa Holding und dem amerikanisch-deutschen Unternehmen RFR Group der deutschstämmigen Immobilieninvestoren Aby Rosen und Michael Fuchs gehört.[1] Weiteren Medienberichten zur Folge waren der Grund für den extrem niedrigen Verkaufspreis des Chrysler Gebäudes an das Gemeinschaftsunternehmen von Signa und RFR der bevorstehende extrem hohe Bodenpachtanstieg von 7,75 Millionen Dollar im Jahr 2018 auf 31,5 Millionen US-Dollar im Jahr 2023. Bis 2028 soll die Pacht weiter auf 41 Millionen US-Dollar steigen und 2029 auf 67 Millionen US-Dollar. Eigentümer des Bodengrundes unter dem Gebäude ist seit 1902 die Cooper Union, die wiederum – als eine Stiftung – die Pacht steuerfrei einnimmt.
Nutzer des Gebäudes
Die Chrysler Corporation bezog das Gebäude 1930 als dessen Ankermieter und nutzte die Räumlichkeiten bis in die 1950er Jahre als Abteilungshauptquartier. Weitere Mieter der ersten Stunde waren Time und Texaco. Weil Time Bedarf an mehr Büroräumen hatte, zog es 1937 ins Rockefeller Center um. Texaco zog 1967 nach Purchase, New York, weil das Unternehmen die Arbeitsplätze in eine Vorortumgebung verlegen wollte.
Zu den Nutzern des Gebäudes in der Gegenwart gehören: Regus, Creative Artists Agency, Blank Rome, Clyde & Co, InterMedia Partners, Troutman Sanders Reprieve und YES Network.
Baustil
Das Gebäude wurde im Stil des Art déco errichtet. Am Gebäude finden sich Zierelemente aus rostfreiem Stahl, die an Wasserspeier (Gargoylen) erinnern, Flügelhelm-artige Figuren, die den Chrysler-Kühlerfiguren von 1926 nachempfunden sind,[23] und Adlerköpfe – das Wappentier der Vereinigten Staaten. Außerdem wurden am 31. Stockwerk Zierelemente in Form von Chrysler-Motorhauben und Kachelfriese in Form von Chrysler-Radkappen als Zierrat an der Fassade verwendet. Auch die Kuppel des Gebäudes ist aus nichtrostendem Stahl gefertigt.[2] Die Spitze bildet eine sich pyramidenhaft verjüngende Turmkrone aus Kacheln und Nickeltafeln, aus der eine 27 Tonnen schwere Nickelstahlnadel ragt.[24]
Die für die New Yorker Skyline so unverwechselbare Beleuchtung kommt durch unscheinbare Leuchtstofflampen zustande, die an den Fensterrahmen angebracht sind. Die Fenster sind als Schiebefenster gestaltet und lassen sich in allen Etagen öffnen.
Höhe
Bei seiner Fertigstellung im Jahr 1930 war das Chrysler Building mit 319 Metern Höhe das höchste Gebäude der Erde und übertraf das 283 Meter hohe Bank of Manhattan Company Building (heute 40 Wall Street). Auch überrundete es als erstes Bauwerk den Eiffelturm, der aufgrund kaum vorhandener Nutzflächen nicht als Gebäude, sondern lediglich als Bauwerk gewertet wird. Doch schon ein Jahr nach der Fertigstellung, im Mai 1931, wurde es vom Empire State Building um 62 Meter (381 Meter hoch) überholt. Fortan war es noch bis zur Fertigstellung des 344 Meter hohen John Hancock Center in Chicago im Jahr 1969 das zweithöchste Gebäude der Welt.
Innerhalb New Yorks wurde es 1972 und 1973 durch die Türme des World Trade Center (417 Meter und 415 Meter) erneut übertroffen. Nach deren Zerstörung 2001 wurde es zeitweise wieder zum zweithöchsten Gebäude New York Citys, bis 2009 der 366 Meter hohe Bank of America Tower fertig wurde (bereits 2007 erreichte der New York Times Tower dieselbe Höhe wie das Chrysler Building). Seit 2014 ist auch das Gebäude 432 Park Avenue höher. Inzwischen rangiert das Chrysler Building zusammen mit dem New York Times Tower nur noch auf Platz zwölf der höchsten Gebäude in New York. Unter Berücksichtigung seiner 2003 fertiggestellten Antenne ist auch das Conde Nast Building höher als das Chrysler Building. Seitdem der Eiffelturm über eine Fernseh- und Funkturmantenne verfügt, ist auch dieser wieder höher als das Chrysler Building (aktuell misst der Eiffelturm 330 Meter).
Ähnliche Gebäude
Im Laufe der Zeit sind in den USA, wie auch weltweit, eine Reihe von Wolkenkratzern entstanden, bei denen man sich in der Planung und Konzeption am Chrysler Building orientierte. Dies gilt insbesondere für die Spitze des Gebäudes. Besonders bekannt sind diesbezüglich Bauten wie der One Liberty Place in Philadelphia oder die Al Kazim Towers in Dubai, die jedoch beide niedriger als das Chrysler Building sind. Das New York-New York Hotel & Casino in Las Vegas zitiert unter anderem auch das Chrysler Building.
Schutzausweisung
Das Gebäude kam 1976 als National Historic Landmark ins National Register of Historic Places und wurde 1978 von der Landmarks Preservation Commission als New York City Landmark ausgewiesen.
Daten
Etagen: 77
Höhe: 318,92 m
Höhe Dach: 282 m
Höchstes Stockwerk: 274 m
Höchste Aussichtsetage: 238,66 m
Fenster: 3.750
Stahl: 21.000 t
Ziegelsteine: 4.000.000
Wasserrohre: 50 km
Elektrokabel: 1000 km
(Wikipedia)