The New York Philharmonic’s 2019 Concerts in the Parks, Presented by Didi and Oscar Schafer, provided a stunning introduction to conductor Jaap van Zweden, completing his first season as the Philharmonic’s Music Director, leading the orchestra in a program of Rossini’s Overture to “La gazza ladra” (The Thieving Magpie); Copland’s “Hoe-Down,” from Rodeo; and Rachmaninoff’s Symphony No. 2 in E Minor, Op. 27. The concert also featured astonishing compositions by two 12-year olds in the Philharmonic’s Very Young Composers (VYC) program, and their opportunity to hear their works performed by the full symphony orchestra in front of 50,000 people in Central Park and thousands more in concerts in Van Cortlandt Park, Bronx, Cunningham Park, Queens; and Prospect Park, Brooklyn. (For the schedule, see www.nyphil.org.)
In the 54 years that the New York Philharmonic has offered the Summer Concerts in the Parks (for the past 13 years, the series has been presented by Didi and Oscar Schafer), some 15 million people have enjoyed “priceless music absolutely free, under the stars” and with fireworks, no less. It is a vast communal picnic with music the food of love. Play on.
This is the second year that the concert has also showcased original compositions of its Very Young Composers – a program that was begun 20 years ago to give children an opportunity to learn about music in an after-school program in New York’s public schools, with the best of them being performed by members of the Philharmonic, and the very, very best by the full orchestra. There are some 200 students enrolled in schools all over the city; the Philharmonic also partners with schools around the country and the world to offer similar programs. (The director of Education and Community Outreach, Gary Padmore was on his way to Shanghai.)
Nilomi Weerakkody, a 12-year old who is a sixth grader at the Dalton School, composed “Soundscape for Orchestra,” turning the sounds of nature into a symphonic composition.
For “Ociantrose,” Mack Scocca-Ho,
a 12-year old who has been composing since he was 3, created an imaginary city,
Ociantrose, the capital of Myanolar. His composition celebrates Ociantrose’s
distinctive identity, a bustling city where order is not imposed by the
government but arises from the residents. The musical themes suggest “the
variety of people and the harmony emerging form independence.”
The Philharmonic is raising money
to subsidize its education programs – with a challenge that if it raises
$400,000 by August 31, a donor will match with $200,000 (go to www.nyphil.org).
Next season will showcase “Project
19,” marking the centennial of the 19th amendment with new works by
19 female composers – the largest commissioning program of women ever
undertaken by an orchestra, said Deborah Borda, the New York Philharmonic’s
President and Chief Executive Officer. Also, “Mahler’s New York” honors New
York’s past through two of his symphonies with an examination of the
composer-conductor’s time in the city. The “hotspots” festival focuses on three
“new” music centers – Berlin, Reykjavik and New York.
“New York is more than the
Philharmonic’s home,” Borda writes. “This city is in our blood and its high
standards fuel our planning and performances.”
Here are highlights from this
year’s Summer in the Parks concerts:
Summer is a magical time in New York City, with a burst of the finest cultural institutions opening their doors, coming outdoors and letting all the world in.
Public
Theater’s Shakespeare in the Park
The Public Theater (Artistic Director, Oskar Eustis;
Executive Director, Patrick Willingham) has begun performances of the 2019 Free
Shakespeare in the Park production of MUCH ADO ABOUT NOTHING at the Delacorte
Theater, continuing a 57-year tradition of free theater in Central Park. Directed by Tony Award winner Kenny Leon, the
all-black staging of this beloved comedy will run through Sunday, June 23.
Then, for the first
time since 1979, Free Shakespeare in the Park will present CORIOLANUS, the Bard’s blistering drama about a general voted into
power by a populace hungry for change, and the unraveling that follows. Tony
Award winner Daniel Sullivan (Proof, Shakespeare In
The Park’s Troilus and Cressida) directs a
modern-day version of this riveting epic of democracy and demagoguery, July
16-August 11.
This year, there will be voucher or ticket distributions
over the course of the summer in all five boroughs for almost every public
performance of Free Shakespeare in the Park, continuing The Public’s mission of
making great theater accessible to all. This summer’s distributions at
libraries, recreation centers, and community partners throughout New York City,
will have more locations and dates than ever to provide New Yorkers even more
opportunities to obtain free tickets. To see a complete borough distribution
schedule, visit publictheater.org/borough.
Kenny Leon directs a bold new take on Shakespeare’s
cherished comedy of romantic retribution and miscommunication, MUCH ADO ABOUT
NOTHING. In this modern production, we find the community of Messina
celebrating a break from an ongoing war. But not all is peaceful amid the
revelry, as old rivals engage in a battle of wits, unexpected foes plot
revenge, and young lovers are caught in a tumultuous courtship – until love
proves the ultimate trickster, and undoes them all.
The all-black cast of MUCH ADO ABOUT NOTHING
includes Jamar Brathwaite (Ensemble), Danielle Brooks (Beatrice), Grantham
Coleman (Benedick), Chuck Cooper (Leonato), Javen K. Crosby (Ensemble), Denzel
DeAngelo Fields (Ensemble), Jeremie Harris (Claudio), Tayler Harris (Ensemble),
Erik Laray Harvey (Antonio/Verges), Kai Heath (Messenger), Daniel Croix
Henderson (Balthasar), Tyrone Mitchell Henderson (Friar Francis/Sexton),
Tiffany Denise Hobbs (Ursula), Lateefah Holder (Dogberry), LaWanda Hopkins
(Dancer), Billy Eugene Jones (Don Pedro), Margaret Odette (Hero), Hubert
Point-Du Jour (Don John), William Roberson (Ensemble), Jaime Lincoln Smith
(Borachio), Jazmine Stewart (Ensemble), Khiry Walker (Conrade/Ensemble), Olivia
Washington (Margaret), and Latra A. Wilson (Dancer).
To enable as many New Yorkers as possible the
opportunity to experience Free Shakespeare in the Park there will be an open
caption performance of MUCH ADO ABOUT NOTHING on Friday, June 14; an ASL
performance on Saturday, June 15; and an ADA audio described performance on
Thursday, June 13.
Since 1962, over five million people have enjoyed
more than 150 free productions of Shakespeare and other classical works and
musicals at the Delacorte Theater. Conceived by founder Joseph Papp as a way to
make great theater accessible to all, The Public’s Free Shakespeare in the Park
continues to be the bedrock of the Company’s mission to increase access and
engage the community.
This season, The Public proudly welcomes the return
of Jerome L. Greene Foundation and Bank of America as season sponsors.
The Public continues the work of its visionary
founder Joe Papp as a civic institution engaging, both on-stage and off, with
some of the most important ideas and social issues of today. Conceived over 60
years ago as one of the nation’s first nonprofit theaters, The Public has long
operated on the principles that theater is an essential cultural force and that
art and culture belong to everyone. Under the leadership of Artistic Director
Oskar Eustis and Executive Director Patrick Willingham, The Public’s wide
breadth of programming includes an annual season of new work at its landmark
home at Astor Place, Free Shakespeare in the Park at the Delacorte Theater in
Central Park, The Mobile Unit touring throughout New York City’s five boroughs,
Public Forum, Under the Radar, Public Studio, Public Works, Public Shakespeare
Initiative, and Joe’s Pub. Since premiering HAIR in 1967, The Public continues
to create the canon of American Theater and is currently represented on
Broadway by the Tony Award-winning musical Hamilton by Lin-Manuel Miranda.
Their programs and productions can also be seen regionally across the country
and around the world. The Public has received 59 Tony Awards, 170 Obie Awards,
53 Drama Desk Awards, 56 Lortel Awards, 34 Outer Critic Circle Awards, 13 New
York Drama Critics’ Circle Awards, and 6 Pulitzer Prizes.
Tickets to The Public Theater’s Free Shakespeare in
the Park are distributed in a number of ways. On the day of each public
performance, free tickets may be acquired in person at The Delacorte Theater,
through a digital lottery via the TodayTix website or mobile app, in person at
a borough distribution site, and via an in person lottery in the lobby of The
Public Theater at 425 Lafayette Street. All tickets are subject to
availability. A performance calendar and complete ticket distribution details
can be found at PublicTheater.org. A limited number of tickets are also
available via advance reservation by making a contribution in support of Free
Shakespeare in the Park. To learn more, or to make a contribution, call
212.967.7555, or visit PublicTheater.org. The Delacorte Theater in Central Park
is accessible by entering at 81st Street and Central Park West or at 79th
Street and Fifth Avenue (publictheater.org).
Metropolitan Opera Summer Recital Series
Features 6 Free Concerts
The Metropolitan Opera’s 2019 Summer
Recital Series once again brings free outdoor recitals, featuring established
artists and young talents of the opera world, to New Yorkers in all five
boroughs. The series, now in its 11th year, features six free concerts
embracing all five boroughs, and has become an operatic summer tradition.
Presented in collaboration with City
Parks Foundation’s SummerStage Festival, the first two concerts, on Monday,
June 10 at 8 p.m. at Central Park SummerStage (Manhattan) and Wednesday, June
12 at 7 p.m. at Brooklyn Bridge Park (Brooklyn), will feature soprano Ying
Fang,who sang a featured role in Mozart’s La Clemenza di Tito this
season,and tenor Ben Bliss and baritone Nathan Gunn,who sang
together this season in Mozart’s The Magic Flute. They will be joined by
Met pianist Dan Saunders.
Four additional recitals feature soprano Leah Hawkins and tenor Mario Bahg, current members of
the Met’s Lindemann Young Artist Development Program, and baritone Joseph Lim, a winner of the Met’s
National Council Auditions. They will be accompanied by Met pianist Dimitri Dover. Their concerts will
take place on Thursday, June 13 at 7 p.m. in Jackie Robinson Park (Manhattan);
Saturday, June 15 at 4 p.m. in Williamsbridge Oval (Bronx); Monday, June 17 at
7 p.m. in Socrates Sculpture Park (Queens); and Wednesday, June 19 at 7 p.m. in
Clove Lakes Park (Staten Island).
The Met’s Summer Recital Series will
feature arias and duets, as well as Broadway standards and other classical
favorites.
The
Met’s Summer Recital Series is supported, in part, by public funds from the New
York City Department of Cultural Affairs, in partnership with the City Council,
and in collaboration with the Department of Parks and Recreation. Major funding
has also been provided by The Elizabeth B. McGraw Foundation, in honor of Mrs.
McGraw.
No
tickets are required for any of the performances. There are no rain dates for
any of the park recitals. For more information visit metopera.org/season/summer-2019/recitals/
New
York Philharmonic Concerts in the Parks
The New York Philharmonic Concerts in the Parks,
Presented by Didi and Oscar Schafer, have become an iconic New York summer
experience since they began in 1965, transforming parks throughout the city
into a patchwork of picnickers and providing music lovers with an opportunity
to hear the best classical music under the stars.
The concerts will take place Tuesday June 11 in Van
Cortlandt Park, Bronx; Wednesday, June
12 in Central Park, Manhattan, Thursday, June 13 in Cunningham Park in Queens,
Friday, June 14 in Prospect Park, Brooklyn and Sunday, June 16 in Staten
Island.
All performances begin at 8 PM except the Free Indoor Concert in Staten Island,
which begins at 4 PM.
The scheduled program includes Rossini, Overture
to La Gazza Ladra; Works by Very Young Composers of New York City; and Copland’s
Hoe-Down, from Rodeo.
There will be fireworks by Volt Live following the
performances in the Bronx, Manhattan, Queens, and Brooklyn.
For weather and other updates, call the Concert Information Hotline at 212-875-5709
(https://nyphil.org/parks).
Museum
Mile Festival, June 11
Now celebrating its
41st year, the annual Museum Mile Festival takes place rain or shine on
Tuesday, June 11, from 6 to 9 pm. Walk the Mile on Fifth Avenue between 82nd
Street and 110th Street while visiting some of New York City’s finest cultural
institutions, which are open free to the public throughout the evening. Special
exhibitions and works from permanent collections are on view inside the
museums’ galleries, with live music and art-making workshops on Fifth Avenue at
selected museums.
The 23-block
stretch of Fifth Avenue is home to seven participating institutions—El Museo
del Barrio, the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art,
the Cooper Hewitt Smithsonian Design Museum, the Jewish Museum, Neue Galerie
and the Museum of the City of New York. In addition to all the art to see
inside, there are plenty of outdoor festivities: face painting, chalk drawing,
live music and other block-party-type events. (http://museummilefestival.org/)
Jazz
Age Lawn Party, Governors Island
Nostalgia doesn’t begin to describe the feeling that
permeates Governors Island for the two weekends (June 15 & 16, August 24 & 25) each
summer that thousands of people, many decked out in 1920s regalia, elaborate
picnic baskets in hand, disembark from ferries from lower Manhattan and
Brooklyn.
This, the 14th year of the festival, is
especially poignant because it is also the 100th anniversary of
Prohibition and all that the counter-culture (women’s rights!) Jazz Age
triggered.
It is also one of New York City’s
most glamorous and entertaining events of the summer.
The
Jazz Age Lawn Party started in 2005 as a small gathering on NYC’s Governors
Island, and has since grown into one of New York City’s most beloved events.
This historically sold out event attracts thousands of time travelers each
year, who come together to discover the music and zeitgeist of the 1920s.
Consistently selected by the New York Times as one of the year’s most memorable
events, Jazz Age Lawn Party offers a unique, interactive opportunity to relive
one of the most colorful and formative epochs in American history.
The event is held rain or shine; food is available
for sale but people love to bring their own picnics (outside alcohol is prohibited, but
there is alcohol, including Prohibition-era inspired cocktails, for sale).
Though enjoying Governor’s Island is free (and there
are fascinating historic sites as well as art and cultural and recreational
activities on the island, and you can hear the music, admission to the
festivities is by ticket (which cost up to $175). Purchase tickets in advance https://www.eventbrite.com/o/jazz-age-lawn-party-18523813336
(no charge for children 12 and under).
The
Global Scavenger Hunt teams arrive in New York City for the last leg of the
Global Scavenger Hunt that has taken us to 10 countries in 23 days. Bill
Chalmers, the ringmaster and Chief Experience Officer of this around-the-world
mystery tour, in which the challenges and scavenges are designed to get us out
of our comfort zone and immerse us in a culture, fine-tune our skills as world
travelers, and most significantly, “trust in the kindness of strangers.” Back
in New York, he is delighted all 10 teams circumnavigated the world “in one
piece” without dramatic incident, in this, the 15th annual Global
Scavenger Hunt competition.
The
leading teams vying for the title of “World’s Greatest Travelers” as we enter
this final leg of the contest in 4th place, SLO Folks from
California with 96 points (where the low-score wins); in 3rd, Order
& Chaos, doctors from San Francisco with 81 points; in 2nd
place, Lazy Monday, computer networking consultant and think tank professional
from California with 46 points, and Lawyers Without Borders, from Houston, with
33 points, five-time winners who are competing in the Global Scavenger Hunt for
the 12th time.
There
is one more challenge in New York (an easy urban Par 1), and even though, based
on points and placement, the winners of the 15th annual, 2019
edition of the Global Scavenger Hunt have been determined, still the teams go
out and give it their all. Those in contention must complete at least one of
the scavenges in New York, and complete their time sheet and hand in by the 4
pm deadline.
Examples
of the scavenges: take in a
Yankees game or a Broadway show; have one of each of following: a New
York bagel, a New York hot dog, a New York deli sandwich, a slice of New York
pizza, New York cheesecake, a New York egg cream, or an old-fashion Manhattan; -locate
five pieces from five of the nations you just visited in the Met; visit
Strawberry Fields, pay John Lennon tribute; do one scavenge in each of
the five boroughs of New York City.
A
native New Yorker, this is really my turf (though there is the oddest sensation
of feeling like I am in a foreign place, reminding myself of what is familiar
like language, money, streets, drink water, eat salad), and I delight in
walking up Madison Avenue to 82nd Street to the Metropolitan Museum
of Art on Fifth Avenue.
I
elect to take up the challenge of going to the Metropolitan Museum of Art to
seek out objects from five of the countries we visited (Canada, Vietnam,
Myanmar, Thailand, Abu Dhabi, Jordan, Greece, Morocco, Gibraltar, Portugal,
Spain). Greece will be easy, of course, but Morocco and Jordan (Petra), Vietnam
and Myanmar (Burma) are just a bit trickier. It is Chalmers’ way of making us
experience things on a different level, and for me, it brings together so much
of what we’ve seen, learned and experienced along the way.
I
first join a docent-led Highlights Tour, knowing from past experience that
these always lead me to parts of the museum I am unfamiliar with, and enlighten
about aspects of art and culture with the in-depth discussion of the pieces the
docents select to discuss.
The
docent, Alan, begins in the Greco-Roman exhibit with a stunning marble
sculpture of the Three Graces, showing how this theme – essentially copied from
the Greek bronzes (which no longer exist because the bronze was valuable and
melted down for military use) – was repeated over the eons, into the
Renaissance and even beyond.
Obviously, finding an object from Greece is going to be easy, and I hope to find objects from Vietnam, Myanmar (Burma), and Thailand in the Asia wing where there is a massive collection of Buddhist art (it proves just a tad more difficult, but I succeed). Morocco and Jordan (Petra) proved trickier than I expected, but brought me to an astonishing exhibit, “The World Between Empires: Art and Identity in the Ancient Middle East,” with an extraordinary focus on the territories and trading networks of the Middle East that were contested between the Roman and Parthian Empires (ca. 100 BC and AD 250). “yet across the region life was not defined by these two superpowers alone. Local cultural and religious traditions flourished and sculptures, wall paintings, jewelry and other objects reveal how ancient identities were expressed through art.”
The
exhibit features 190 works from museums in the Middle East, Europe and the
United States in an exhibition that follows the great incense and silk routes
that connected cities in southwestern Arabia, Nabataea, Judea, Syria and
Mesopotamia, that made the region a center of global trade along with spreading
ideas, spurring innovations (such as in water control), and spawning art and
culture.
It
was the most incredible feeling to come upon the objects from Petra, having
visited the site (was it only 10 days ago?) and having a context for seeing these
isolated objects on display.
The World between Empires
The landmark exhibition The World between Empires: Art and Identity in the Ancient Middle East, which is on view through June 23, 2019, focuses on the remarkable cultural, religious and commercial exchange that took place in cities including Petra, Baalbek, Palmyra and Hatra between 100 B.C. and A.D. 250. “During this transformative period, the Middle East was the center of global commerce and the meeting point of two powerful empires—Parthian Iran in the east and Rome in the west—that struggled for regional control.”
The exhibition focuses on the diverse and distinctive
cities and people that flourished in this environment by featuring 190 outstanding
examples of stone and bronze sculpture, wall paintings, jewelry, and other
objects from museums in the United States, Europe, and the Middle East.
Among the highlights is a Nabataean religious shrine,
reconstructed from architectural elements in collections in the United States
and Jordan; the unique Magdala Stone, discovered in a first-century synagogue
at Migdal (ancient Magdala) and whose imagery refers to the Temple in
Jerusalem; and wall paintings from a church in Dura-Europos that are the
earliest securely dated images of Jesus. Sculptures from Baalbek illuminate
religious traditions at one of the greatest sanctuaries in the ancient Middle
East, and funerary portraits from Palmyra bring visitors face to face with
ancient people. The exhibition also examines important contemporary
issues—above all, the deliberate destruction and looting of sites including
Palmyra, Dura-Europos, and Hatra.
“The compelling works of art in this exhibition
offer a view into how people in the ancient Middle East sought to define
themselves during a time of tremendous religious, creative, and political
activity, revealing aspects of their lives and communities that resonate some
two millennia later,” said Max Hollein, Director, The Metropolitan Museum of Art. “Further,
in focusing on an area of the world that has been deeply affected by recent
conflicts and the destruction of sites, monuments, and objects, this show also
engages with complex questions about the preservation of cultural heritage.”
The exhibition evokes a journey along ancient trade routes,
beginning in the southwestern Arabian kingdoms that grew rich from the caravan
trade in frankincense and myrrh harvested there and used throughout the ancient
world. Camel caravans crossed the desert to the Nabataean kingdom, with its
spectacular capital city of Petra, which I had just visited, walking through
very much as the caravan travelers would have.
From here, goods traveled west to the Mediterranean and north and
east through regions including Judaea and the Phoenician coast and across the
Syrian desert, where the oasis city of Palmyra controlled trade routes that
connected the Mediterranean world to Mesopotamia and Iran and ultimately China.
In Mesopotamia, merchants transported cargoes down the Tigris and Euphrates
rivers to the Persian Gulf, where they joined maritime trade routes to India.
These connections transcended the borders of empires, forming networks that
linked cities and individuals over vast distances.
Across the entire region, diverse local political and religious
identities were expressed in art. Artifacts from Judaea give a powerful sense
of ancient Jewish identity during a critical period of struggle with Roman
rule. Architectural sculptures from the colossal sanctuary at Baalbek and
statuettes of its deities reveal the intertwined nature of Roman and ancient
Middle Eastern religious practices. Funerary portraits from Palmyra represent
the elite of an important hub of global trade. Wall paintings and sculptures
from Dura-Europos on the River Euphrates illustrate the striking religious
diversity of a settlement at the imperial frontier. And in Mesopotamia, texts
from the last Babylonian cuneiform libraries show how ancient temple
institutions waned and finally disappeared during this transformative period.
In Athens and Petra, particularly, you appreciate this synergy
between trade, migration, environmental sustainability and technology (in
Petra, the ability to control water supply was key), economic prosperity and
political power, and the rise of art, culture, and community.
It is rare (if ever ) for the Metropolitan Museum to venture into
the political, but a key topic within the exhibition is the impact of recent
armed conflicts in Iraq, Syria, and Yemen on archaeological sites, monuments,
and museums, including deliberate destruction and looting. Some of the most
iconic sites affected—Palmyra, Hatra, and Dura-Europos—are featured in the
exhibition, which discusses this damage and raises questions regarding current
and future responses to the destruction of heritage. Should the sites be
restored or will they now only exist “on paper”? How much money and resources
should go to restoring or excavation when villages and homes for people to live
in also need to be rebuilt?
There is a fascinating, if frantic, presentation of three archaeologist/historians speaking about what the destruction by ISIS and Islamic fundamentalists of Palmyra, Eura-Europos and Hatra – what it means to destroy a people’s heritage, their cultural identity. “It may seem frivolous to focus on [archaeological sites] when people are enslaved, killed…but to wipe out, destroy culture is a way of destroying people.”
Happening
upon this exhibit made the travel experiences we had to these extraordinary
places all the more precious.
It
is a humbling experience, to be sure, to go to the origins of the great
civilizations, fast forward to today. How did they become great? How did they
fall? Greatness is not inevitable or forever. Empires rise and fall. Rulers use religion,
art and monuments to establish their credibility and credentials to rule;
successors blot out the culture and re-write history.
(“The World Between Empires” is featured on The Met website as well as on Facebook, Instagram, and Twitter using the hashtag #WorldBetweenEmpires.)
I peek
out from the American Café windows to Central Park and see sun and the early
spring blossoms on the trees, and dash out to walk through my other favorite
New York City place. There is nothing more beautiful than New York City in the
spring – brides are out in force taking photos; there are musicians and
entertainers. There is a festive atmosphere as I walk through the park toward
the Palace Hotel in time for our 4:30 pm meeting.
And now, drumroll please, Chalmers announces the
winner of the 2019 Global Scavenger Hunt: “Only one team wins. The competition
was fierce.”
3rd – Order & Chaos, Sal Iaquinta & Vivian Reyes, doctors from San
Francisco
2nd – Lazy Monday, Eric & Kathryn
Verwillow, computer networking and think tank professional of Palo Alto, California
(“I am in awe of how hard worked beginning to end – embraced the spirit,”
Chalmers says.
1st Lawyers Without Borders, Rainey Booth and Zoe Littlepage of Houston, who have competed in the Global Scavenger Hunt 12 times, and won it for the 6th time. “You embody the spirit of the event, to go out of your comfort zone.” (You can follow Zoe’s blog of her experience to get a sense of how strenuous, outrageous, and determined the team was in accumulating their points: https://zoeandraineygreatescape.blogspot.com/2019/05/gsh-2019)
We celebrate at a final bon voyage dinner.
The Global Scavenger Hunt is the brainchild of Bill and
Pamela Chalmers, who in addition to forging understanding and bonds among
travelers and the people in the destinations visited, use the program to promote
voluntourism (one of the scavenges is to volunteer at an orphanage or school
during our stay in Yangon, Myanmar, and in the past travelers visited & helped out at: Tibetan
refugee camps in Nepal, orphanages in Laos, hospitals in Cambodia, homeless
schools in India, hospices in Manila, disabled facilities in Sri Lanka,
Ethiopian schools, the slums of Nairobi) and raised money for the
GreatEscape Foundation.
“The foundation is one of main reasons we do the event,”
Chalmers says. The foundation has raised money to build 12 schools (1 each in Niger, Haiti, Ecuador, India & Ethiopia; 2
each in Sri Lanka & Sierra Leone, and 3 in Kenya), helped build the Tamensa Medical Clinic in Niger for migrating
Tuareg nomads which serves as a midwives & nurse training center too. “We
know that we saved lives and bettered the lives of hundreds. We have helped
over 2400 families in more than 60 countries (mostly women entrepreneurs) with
our interest and fee free micro-loans (96% of which have gone to women with a
99% repayment).”
Through the event this and last year, the
foundation will build 2 more co-ed elementary schools , in Ethiopia and Haiti.
TheGlobal Scavenger Hunt travel
adventure competition is aimed at returning the romance of travel while testing
the travel
IQ of the most travel savvy of globetrotters. The travelers
(who must apply and be accepted to compete) completed a series of highly
participatory, authentic and challenging cultural site-doing scavenges
in ten secret countries over a 23-day circumnavigation between April 12 and May
4, 2019 designed to bring people out of their comfort zone and trust strangers
in strange lands.
“The Global Scavenger Hunt covers a lot of
extraordinary travel bases,” says Chalmers, who dubs his mystery tour, “A blind
date with the world.”
For more information, contact GreatEscape Adventures
at 310-281-7809, or visit GlobalScavengerHunt.com.
Imagine a structure 120 feet high that can fit 2000 people for a concert, but that can move, expand, shrink or be completely removed to expose an open-air plaza. An “anti-institution” cultural institution to provide a home and nurture the full spectrum of the arts, where emerging artists, local artists, and established artists have parity, and audiences represent the diversity and inclusivity of New York with low-priced ticket holders dispersed throughout the house.
This is The Shed, the
newest cultural center to open in a city which prides culture above all, sure
to be gain a place among the pantheon of iconic art institutions, along with
its leading-edge approach to harnessing the arts as a force for social action
and public good, its astonishing architecture, flexible, versatile and
adaptable enough to enable artists of today and tomorrow and fulfill their
vision to be a platform across multi-disciplines.
It’s “the Swiss army knife” of culture,” said Daniel L. Doctoroff, chair of the board, during a press preview prior to the April 5 grand opening, when the principals involved with the genesis of the project spoke of what The Shed, and its mission, meant to the city and society.
Indeed, they noted, in a city of 1200 cultural attractions, The Shed had to be different, beginning with its commitment to commissioning new works, creating a platform – the space and place – for artists across disciplines, engaging audiences across a spectrum of backgrounds and interests, but most significantly, creating a building, that like a “living organism” would keep morphing to accommodate artists’ visions today and decades from now, accommodating the unimaginable ways art and culture might change over time.
Six and a half years ago, after seeing a 60-second animation of what The Shed could be, purpose-built to house various forms of culture and building would move, John Tisch, vice chair of the new institution, told his wife, “The Shed is about future of NYC and we need to be involved.”
“6 ½ years later, here
we are discovering the future of NYC and how we as citizens and creators of
this institution will discuss culture and humanity, how we all need to be
together in the 21st century in NYC.
“There are many cultural institutions – many are about the past. The Shed is about the future.”
“The dictionary defines ‘shed’ as an opened-ended structure with tools,” said Doctoroff. “We designed The Shed as a platform, uniquely adaptable, to liberate artists to fulfill their dreams.”
More than a dozen years
ago, Doctoroff said, The Shed “started as small square on map, a placeholder
for To Be Determined cultural institution.
“Mayor Bloomberg said ‘Make
it different from anything else in New York City.’ That’s not easy in a town of
1200 cultural institutions. It had to play a role in a new edge of New York
City, keeping New York City as leading edge of the cultural world.”
Liz Diller of Diller
Scofidio + Renfro, lead architect, and David Rockwell of Rockwell Group, collaborating
architect, responded to the mandate for flexibility, a one-of-a-kind structure.
“Just as it was to be designed
to be flexible, we wanted it to be of and for our time and inclusive of artists
across all disciplines,” Doctoroff said. “We proposed commissions of emerging
artists across all art forms – the mission drives our work.
“It is a remarkable
public/private investment of $500 million to design and construct building and
create original works of art.
“New York City continues
to be perfect partner under Mayor DiBlasio. The city provided $75 million and
the land.
“We are standing in The McCourt,
a spectacular space that can do anything an artist can imagine. It was named
for the Board member who gave $45 million.
“Griffin Theater was named
for one of most generous philanthropists, Ken Griffin, who gave $25 million.
“Altice USA is the
founding fiber network partner – so that The Shed is an accessible arts
organization with global reach, the first cultural institution with connectivity
partner.
“Above all, Mayor
Bloomberg, who had vision to transform West Side and create cultural
institution as beating heart. The Shed is housed the Bloomberg Building, named
for Mayor Bloomberg.
“It’s been a 14-year
journey – kind of crazy, new kind of cultural institution in a completely new
building in new part of town, new board, new team, performing miracles every
day, producing our own work.
“Great architecture
demands great purpose,” Doctoroff said.
Alex Poots, the Artistic Director and CEO, said, “I started to imagine the possibilities: a flexible building, built on city land. That was the draw to lure me from England –a public purpose. It was a no brainer, building on what I had been doing for 15 years. [Poots is also involved with the Manchester Festival and with the Park Avenue Armory.]
“Parity among art forms;
the ability to commission art – visual and performing arts. And it would not
matter if the artist were emerging, established, or a community artist – we don’t
need a false hierarchy.
“The Shed is place for
invention, curiosity where all artists and audiences can meet.
Alongside all the
venerable institutions of city, we hope The Shed can add something.
“It’s rare for a place to be open in the day as a
museum, and in the evening a performance center.”
First Commissions
Poots introduced the 2019 inaugural season’s first commissions (and the press were able to watch some rehearsals):
Soundtrack of
America,
a new live production celebrating the unrivaled impact of African American
music on art and popular culture over the past 100 years, conceived by
acclaimed filmmaker and artist Steve McQueenand developed with music visionaries and academic experts
including Quincy Jones, Maureen Mahon, Dion ‘No I.D.’ Wilson, Tunji Balogun and
Greg Philliganes, is a five-night concert series (April 5-14) celebrating the
unrivaled impact of African American music on contemporary culture, with performances
by emerging musicians.
Reich
Richter Pärt,
a live performance/exhibition pairing works by master painter Gerhard
Richter with a new composition by Steve Reich and an extant
composition by Arvo Pärt, performed by The Choir of Trinity Wall Street
(April 6-June 2).
Norma
Jeane Baker of Troy, a reinvention of Euripides’ Helen by
poet Anne Carson, starring Ben Whishaw and the opera singer, Renée
Fleming (April 6-May 19).
Björk’s Cornucopia, the
multidisciplinary artist’s most elaborate staged concert to date, directed by
Lucrecia Martel (May 6-June 1).
Dragon Spring Phoenix
Rise. a
futuristic kung fu musical conceived by Chen Shi-Zheng and Kung Fu
Panda screenwriters Jonathan Aibel and Glenn Berger, with
songs by Sia, choreography by Akram Khan, and production design
and costumes by Tim Yip (June 22–July 27);
There are also, expansive exhibitions devoted to
extant and newly commissioned work by trailblazing artists Trisha Donnelly and
Agnes Denes; and an unprecedented opportunity for New York City-based
emerging artists of all disciplines to develop and showcase their work
throughout The Shed’s spaces via an Open Call commissioning program.
Beneath the stands and
stage in The McCourt is the only permanent art installation, “In Front of
Itself,” a large-scale, site-specific work by artist Lawrence Weiner embedded
into the plaza. It serves as a walkable outdoor area when the movable shell is
nested over the fixed building, or as the base of The McCourt when the shell is
extended to the east. The 20,000-sq. ft. work features the phrase, “In front of
itself” in 12-foot high letters fabricated with custom paving stones.
These first commissions,
Poots said, “shows the range of The Shed.” The flexibility of the building
makes it possible to transform from one show to the next in just two days.
Art as Social Action
Tamara McCaw, Chief Program Civic Officer, is responsible for fulfilling the mission of The Shed to use art as social action.
“It is my responsibility
to serve the community, particularly those under stress or have barriers [to
artistic expression]. ]
McCaw oversees the Open
Call program, an unprecedented opportunity for 52 New York City-based emerging
artists and collectives to develop and showcase their work throughout The
Shed’s primary spaces, free to the public (May 30-August 25) and continuing in
2020.
The 52 artists were
selected from 930 applications in its first open call. Alex Poots said that The
Shed will embark on its next round of emerging talent in 5-6 months.
The Shed has year round
social justice residencies, serving 700 students a year
“We are providing a platform for local and
emerging artists – selected by diverse panel and Shed staff (2 are on the panel
– to present in principal spaces, plaza, theater.” These performances and
exhibits will be free to public.
“It is our civic
responsibility to reflect, respond to the diverse communities of NYC – with
affordable tickets ($10; free for 18 year olds and under and CUNY students),
and reserve 10% of low-income seats that will be distributed throughout house
(not the back or nosebleed section)
Addressing how The Shed
intends to be responsive to diverse audiences, Doctoroff noted that the
building is open – the restaurant, café and lobby. Anyone can come through
without a ticket, and every gallery and theater can be separately ticketed. The
goal is to make access to exhibits and performers and accessible as possible.
McCaw added, “People
from public housing are already are coming because they are of process. We did
outreach for open call. There are artists who live in public housing here. When
you come with respect, people want to be involved.
“We are creating inventive
new work, supporting creative expression, cultural equity and belief in power
of art to effect social change.”
Ticket prices are
intentionally low. Every gallery show – except Richter – is $10 ticket and free
for those under 18. Open call programs are free (18 weeks of programming)
At the end of the first
year, he expects that half the entire
audience will be admitted for $10 or free.
The Shed, a
not-for-profit arts institution, expects to operate at a loss.
“That means we have to
raise money,” Doctoroff said. “But we regard it as investing in society, not as
a loss. The less box office, the more generous we are. There are high ticket
prices for those who can afford it and low for those who can’t – low cost
tickets are equally dispersed through theater, to promote equity.”
A good source of real
money, though, could be in renting out space in The Lizzie and
Jonathan Tisch Skylights and The Tisch Lab on the top floor, Level 8, where there is a
1,700-square-foot creative lab for local artists, a 3,300-square-foot rehearsal
space, and a 9,500-square-foot flexible, multipurpose space for events.
“The Top floor is engine
for that flexible space – dinners, small performances – will be rented year
round while operating as not-for-profit art center.”
Frank H. McCourt Jr., Shed board member and entrepreneur, reflected, “There is something else here – civic imagination, ideas put into action to serve people – address societal issues, change lives, make a better nation, a better humankind.
“It is artistic creation
but also social innovation. Human creativity for the greater good. My hope for The
Shed is that it is home for both art and other intellectual activities. This
place, including the institution created to animate it, is a bold, living
example of civic action. An idea put into action for greater good.
“It’s not finished, just
getting started. This week a milestone. In a world replete with cynicism, The
Shed is the opposite.”
An Architectural Marvel
“We started the project 11 years ago – when it was a dotted line on a satellite photo and a question mark. It was the 2008 recession,” reflected Liz Diller, lead architect, who described what it was like to design a building around a mission.
“Arts in New York are
siloed – dance, theater, music, visual. That’s not how artists think today, but
how will artists think in one or two decades? We can’t know. We started a project
without a client, an anti-institution institution, to serve artists of all
kinds in a future we could not predict.
“How could architecture
not get in the way of that? Art is in flux, so the building had to be able to change
on demand, be flexible without defaulting.”
What she and collaborating
architect David Rockwell devised is a fixed building with column-free exhibit
and performance space, the Bloomberg Building.
The
Shed’s Bloomberg Building—an innovative 200,000-square-foot structure designed
by Diller Scofidio + Renfro, Lead Architect, and Rockwell Group, Collaborating
Architect—can physically transform to support artists’ most ambitious ideas.
Its eight-level base building includes two levels of gallery space; the
versatile Griffin Theater; and The Tisch Skylights, which comprise a
rehearsal space, a creative lab for local artists, and a skylit event space.
The McCourt,
an iconic space for large-scale performances, installations, and events, is
formed when The Shed’s telescoping outer shell is deployed from over the base
building and glides along rails onto the adjoining plaza. The McCourt can have theater seating for 1400,
or open the glass wall to expose the balcony for 300 seated and have 2000 on
the floor.
The Plaza:
When the movable shell is nested over the base building, the 20,000-square-foot
Plaza will be open public space that also can be used for outdoor programming;
the eastern façade can serve as a backdrop for projection with lighting and
sound support. The Plaza is equipped with a distributed power supply for
outdoor functions. Oversize deliveries can be brought by truck up Hudson Yards
Boulevard and loaded directly onto The Plaza and into the base building or the
shell when deployed. Those doors can be opened while the audience is under
cover, for an open-air effect.
“It is the architecture
of infrastructure: all muscle, no fat,”
Diller said. “Alex, an inspirational alchemical force, challenged the building
to be smarter, more flexible, agile. This is a perpetual work in progress –
always getting smarter more agile.
It will respond to the challenge
of artists and challenge the artists back.”
“New York is so defined by art and its artists. Art creates community, at its best, and empathy with audiences,” said Architect David Rockwell.
“What we created
is a Swiss Army knife of culture,” said Doctoroff. “A beautiful design with
practicality to respond to the notion that we don’t know where art will go, or
where artists will be in 200 years.”
The Shed’s
eight-level base building includes two expansive, column-free galleries
totaling 25,000 square feet of museum-quality space; a 500-seat theater that
can be subdivided into even more intimate spaces; event and rehearsal space;
and a creative lab.
A movable
outer shell can double the building’s footprint when deployed over the
adjoining plaza to create a 17,000-square-foot light-, sound-, and
temperature-controlled space, named The McCourt, for large-scale performances,
installations, and events for audiences ranging from 1,250 seated to 3,000
standing (when combined with space in the two adjoining galleries of the base
building). When space is not needed, the movable shell can nest over the base
building, opening up the plaza for outdoor use and programming.
Diller
explained how the movable shell travels on a double-wheel track based on gantry
crane technology commonly found in shipping ports and railway systems. A
rack-and-pinion drive moves the shell forward and back on four single-axle and
two double axle bogie wheels that measure six feet in diameter; the deployment
of the shell takes approximately five minutes.
The
exposed steel diagrid frame of the movable shell is clad in translucent pillows
of durable and lightweight Teflon-based polymer, called ethylene
tetrafluoroethylene (ETFE). With the thermal properties of insulating glass
at 1/100th of the weight, the
translucent ETFE allows light to pass through and can withstand hurricane-force
winds. Measuring almost 70 feet in length in some areas, The Shed’s ETFE panels
are some of the largest ever produced.
“Systems were adapted from
other things but it is novel in the way we put together,” Diller said, adding
that the architecture is “based on industrial crane technology, brought to 21st century”
with an emphasis on functionality. But there were no real models among arts
institutions.
“It was a constant process
of invention, reinvention,” said Doctoroff. “We have 14 blackout shades. We had
to rethink the system of shades – particularly when Alex came and knew he wanted
concerts. They needed to also provide sound protection. We went to the sailmakers
who designed sails for America’s Cup boats to design shade system. Extra
performance capability of holding back 108 decibels (loud). The thickness,
density had to be able to roll up.”
Asked why New York needed another cultural institution, Doctoroff retorted, “Why have we been so successful raising money? Because people sense New York does need this. The criteria was that this had to be different from anything else in New York. We went to talk to artists and leaders of cultural institutions around the world to ask what do they not have and need. There were similar themes –the internet era gives artists the capacity of collaborating across distances and disciplines, but also producing work that didn’t fit in traditional institutions. Out of that came idea of flexibility.
“This is different: our
mission of inclusivity embedded in value system,” said Doctoroff, said in a
small discussion group with journalists.
“We prove it every day.
This is personal for me: 36 years ago I imagined a new West Side – saving the
Highline [now one of the most popular attractions in NYC, with 8 million visits
a year], the subway. I always believed having a cultural heart to the new West
Side was critical and would need to change over time to keep New York leading
edge in culture. I believe cultural institutions are critical to New York,”
said Doctoroff, who is also chairman and CEO of Sidewalk Labs, an Alphabet
company that looks at sustainable solutions to designing urban communities.
“The Shed will never be
finished,” said Doctoroff. “The word ‘unfinished’ ends with ‘shed’. It will
always be evolving because what we’ve done is created a platform for artists to
use as their own. The building enables their vision – they will push, stretch
us in ways we can’t imagine, they can’t imagine today. The Shed is an organism
that keeps morphing.”
And that’s how Liz
Diller expects not to go through post partum blues. “We will respond to the
challenge of artists and challenge artists back.”
If you really want to be freaked out by the KGB Spy Museum that opened just a few months ago in Manhattan, do what I did: come directly from Spyscape, where you learn about the whole business of being a spy, and be in the middle of reading a book like “The Plot to Destroy Democracy: How Putin and His Spies Are Undermining America and Dismantling the West,” by Malcolm Vance.
The KGB Museum would be scarier if it were not laid out somewhat like an antique shop (but aren’t all spy centers sequestered behind something innocuous like a tailor shop?). Row by row, there are some 3500 artifacts, all of them real, many on view publicly for the first time. They date from 1910 until 1991, the collapse of the Soviet Union when the KGB was replaced by the FSB. But these mundane objects – a lipstick, an umbrella, a pen – were lethal weapons; a tie pin and belt buckle were cameras; a heart reader could seek out a live person hiding even in a refrigerator. Another important tool? A thermometer to determine if a person were truly dead. And if a master key couldn’t unlock an apartment to install a bug? No matter, a transmitter could be aimed at the window from a huge distance to decipher the sound vibrations and eavesdrop anyway. There is even a letter remover which could take out a letter from its envelope, read its contents and replace it back in the envelope, without leaving a mark.
And then there is the “patient chair,”
used in a psychiatric hospital, with scary restraints, that were used for
interrogations under truth serum or other means.
It turns out that those fantastical
gadgets from the James Bond movies, and even the Get Smart spy spoof, were
actually based on the real thing. It seems that there is nothing too absurd in
the spy world.
The KGB story is really scary
though. KGB (КГБ in Cyrillic) stands for “Komitet
Gosudarstvennoy Bezopasnosti,” which can be translated as the Committee for
State Security. The KGB was the main security agency for the Soviet Union, and
during the Cold War the KGB was in direct competition with the CIA and other
state security agencies around the world for cultural, economic, and military
dominance.
The KGB was born in the Russian Revolution – one of the artifacts is the carpet
memorializing Lenin (not his real last name, it turns out) and the beginning of
the Revolution in 1917 – and was initially designed to ferret out
counter-revolutionaries, or enemies of the Communist state.
One of the
world’s largest and most sophisticated intelligence operations, the KGB served
a multifaceted role as both a spy agency outside of Soviet Union and a force of
secret police within it.
You realize how pervasive and
ruthless the KGB was (is), and sense the constant terror that the people must
have lived under, as that term “enemies of the state” was broadened to mean any
one who criticized or opposed the ruling party, the leadership or policies.
There are real doors from jail cells,
and you look through at real video of real prisoners. Those who were placed in solitary
were allowed nothing to wear but their underwear; they could sleep only four
hours, when the bed would be closed up, and fed only bread and water for 5 to
15 days.
One of the
world’s largest and most sophisticated intelligence operations, the KGB served
a multifaceted role as both a spy agency outside of Soviet Union and a force of
secret police within it.
Some of the best engineering and
scientific minds were employed to devise gadgets and gizmos – miniaturizing cameras,
maximizing surveillance and detection, inventing new ways of transmitting.
“Virtually
undetectable, the agency used its state-of-the-art tools and ruthless methods
to seamlessly monitor the citizens’ lives and keep them in constant fear of
repercussions for any subversive behavior. The investment in the spy technology
had a devastating toll on the country’s economy yet it was deemed the most
effective and necessary way to keep the state isolated from the rest of the
world and keep the Western world out.”
With spies
operating in countries all over the world, the KGB had a vast influence on world
affairs, which reached its peak during the Cold War. KGB Spy Museum presents a
never-before-seen collection of items used in the missions of prominent KGB
agents, illuminating the strategies and methods that underlay many of history’s
top-secret espionage operations.
In addition
to perusing artifacts and learning about the history of the notorious agency, you
can read and listen to real stories from spies, witnesses and journalists as
well as explore and interact with authentic objects, such as telephone
switchboards (most of the operators who connected the calls and then listened
in on conversations were KGB), encryption machines, an interrogation chair,
designed to extract information from suspects and enemies.
One of the most interesting stories surrounds a wooden Great Seal in one of the cabinets, that was also one of the KGB’s greatest triumphs, that arose out of the famous summit in the Crimea of Stalin, Churchill and FDR. The head of the KGB, Lavrenty Beria, had a replica of the Great Seal made as a gift for Ambassador Averell Harriman, presented most charmingly by cherubic Young Pioneers (like boy scouts) as a “gesture of friendship.” But inside was an ingenious bug that used electromagnetic energy instead of an external power supply. It hung above the Ambassador’s desk in Moscow for seven years before it was exposed in 1952. “The Americans couldn’t figure out how it worked for a year and a half,” my guide, Sergey, says. (The original is in the NSA’s Cryptology Museum in Washington.)
The inventor of the Zlatoust/Receiver
LOSS, Lev Sergeyevich Termen, was a physicist
and a musician, who began his career by developing previously unseen electronic
musical instruments. In 1947 he won the Stalin Prize for Inventions of Listening
Devices.
One of the objects that is literally
one-of-a-kind, is a record player made expressly for
Stalin; there is also a safe, made by the Bernstein company in Berlin, that
came from KGB HQ, still containing the currency that would have been enough to buy
30 cars. Both indications of the privilege along with the power amassed by the
Communist leadership despite their calls for a equal society.
Among the rarest objects, which are
a point of pride, also seem mundane but were “mechanical masterpieces”:
Tool set КАРОЕД/KAROED (Bark beetle): This is a manual
set of special drills and instruments for drilling very narrow holes less than
0.04 inches without any sound in the tree or plastic. Holes were needed to
listen to secret conversations with a help of secret microphones. These sharp
and pointed drills are specially machined from the very hard metal. The set
includes drill extensions, which can be used to drill holes in 3.3 ft and even
thicker walls or wooden floors. A special hand-held drill holder had a stopper to
drill holes of a certain depth to protect the drill from coming out across the
wall by making only a small, hardly visible hole. A special container collects
shavings in order not to leave any suspicious marks.
Also
very rare: KGB secret drill ИГЛА/IGLA (needle): “It is a unique mechanical
masterpiece – the drill IGLA. This very complicated drill reflects the name
‘needle’, because it drills a very thin hole through the concrete. It drills
with the help of air compressor with abrasive dust to avoid the sound and
vibration. Even the drilling sound was designed by the constructors to simulate
that era washing machine Малютка/Maliutka. The person at home thought that a
neighbor was probably doing the laundry. The Igla drill had a hole through
which the air pressure was inflated according to the manometer readings, and
when the drill approached the outside of concrete wall, the air pressure
dropped in the drill as the air went out and the drill automatically shut off.
The hole was 0.04 inches in size. If the walls were painted or lined with
ceramic tiles, the eye did not even see the hole or dust outside. With this
drill, the abrasive powder and concrete dust were absorbed by air. Agents who
were very patient, slow and responsible were chosen to drill such a hole. In
order to drill a 4 inches concrete wall took about 4 hours, and with the
preparation – the whole day. Agents, through drilled miniature holes, installed
listening or photo devices. After the operation, they applied a hole with the
cement mixture and no suspicious marks were left.”
There’s an old fashioned
phone where you can “dial” a selection of officials. My guide, Sergey, dials
Putin and hands me the phone so I can hear Putin talking (it’s like listening
to the LBJ telephone tapes at the LBJ Presidential Museum in Austin). There are
also actual phones on display from KGB offices that would have features to
disguise the voice at the push of a button.
The two spy experiences – Spyscape and
the KGB Museum – have completely different approaches and perspectives, but they
complement each other so well, especially when visited one after the other.
Spyscape is modern, state of the art, interactive, pulse-pounding, engaging, immersive experience. KGB is old-school but so relevant today, with the Russian actively hacking elections and using social media to impact US and other elections, policy, and political discourse.
“The KGB Spy
Museum aims to present espionage and intelligence operations in an educational
and interesting way, emphasizing the importance of human intelligence and
setting out a frame of reference for the public to appreciate the great extent
to which spies have always influenced world events. The Museum has a policy of
presenting the history of espionage without political bias, thus offering
visitors a factual and balanced view of the subject. “
The Museum is open daily 10 a.m. to 8
p.m.Tickets are
available online or in the museum. You need about 1 ½ hours to visit. Tickets
are adults (18-64)/$25; Children 7-17, seniors, students, $20; a guided visit,
minimum 3 people is $43.99.
Are you Bond or Bourne? Once
you leave Spyscape, you will learn there are many more roles to play in the
complex and ever more ubiquitous world of intelligence. After going through
eight “tests” and many stations which do their best to insert you into the
realm of espionage and profile you to figure out what job you are best suited
to, I would make a
sorry spy. I knew from the start I wasn’t either Bond or Bourne. But I
found a new calling.
I was expecting a museum, even as
museums have become more interactive and engaging and multimedia. But Spyscape,
one of the newest attractions in New York City, is not a museum. It is an
interactive experience more than anything else, designed to inform you, yes,
about the world of espionage and surveillance which, it turns out, is ubiquitous
today, but put you in the picture so that you see yourself in the complex
enterprise that is intelligence.
Spyscape is modern, state of the
art, interactive, pulse-pounding, engaging, immersive experience that lets you
peek into the world of espionage, spycraft, intelligence and
counterintelligence today from the inside.
You
don’t just get taken on a journey through the history of espionage from World
War II and on, but become immersed in up-to-the-minute, ripped from the
headlines events. Edward Snowdon. Wikileaks. Stuxnet. Black hat hackers. Anonymous. “You might be persuaded not to vote.”
Pandora
has truly been let out of her box.
There is a feeling of intensity from the moment you arrive – intended to give you that sense of tension and excitement that must be omnipresent in espionage, and visitors will enjoy as much as the adrenaline rush of skiing down a double-black trail. But is there a place for me?
I am risk adverse. I’m not a gamer.
I don’t do puzzles. I’m frightened of going into small dark rooms when I don’t
know what is there. I frighten easily.
As you arrive, you are given a
bracelet that identifies you at scanning machines that basically track your
progress as you go about the exhibit – you complete a series of tasks and
quizzes and at the end, are assessed as to what role you might play in the spy
apparatus – it turns out there are many, many different functions.
Your
entrée into the world of spycraft is the largest passenger elevator in New York
City, escorted by a very professional person with a
clipboard – it turns out that the ride up is also a multi-media orientation
(think “Mission Impossible”).
Your
mission: What kind of spy will you be? Or put another way: Where do you fit in
the pantheon that is the world of espionage.
The
experience is constructed as if a job interview, to immerse you and personalize
what would otherwise be technical machines and bios. But it turns out that not
all spies work for governments – corporations engage in some of the same
techniques, so do journalists, and so do hackers and criminals. And it turns out that the profile you wind up with at the
end of all the tasks and quizzes is authentic and serious – not tongue-in-cheek
or hokey. I can see some young people seeing new career paths in intelligence
(most of the CIA are analysts, not cloak-and-dagger operatives) or even
outside, since, as is noted, the skills of a spy are broadly applicable.
The layout (Spyscape takes up a
massive amount of space) is purposefully cold, grey, institutional, with
constant pulsing sounds – sometimes electronic music, sometimes sound effects,
sometimes narration.
I am quite unprepared for the experience, expecting a more conventional exhibit, so am put off stride when all of a sudden confronted with quizzes and tasks. It would have been completely different if I were primed and in a game mode.
One of the tasks I find more engaging (once I got the hang of it), was in the room about coding/decoding, the German’s Enigma machine and the Bombe that British mathematician Alan Turing and colleagues at Benchley developed to break the Enigma code. Here the task is to organize a spy’s escape, but you only have 3 minutes before the Germans will cut off communication to her, and you have to convert a message to code and then decode the response. I do this for the “Limping Lady”, who turns out to be a real person (I later realize she is the spy Virginia Hall) and this was a real scenario.
You
get personal insights into Alan Turing, the mathematician who developed a
program to break the German “Enigma” machine code. (A fascinating artifact is a
copy of Turing’s notes, as a teenager, summarizing Einstein’s Theory of
Relativity as a gift for his mother). There is also a brief bio of Joan Clark, one
of the Enigma codebreakers who rose to become Deputy Head of the Hut eight. You
get to type code on a replica Enigma machine.
After one “test”, in which I fail to figure out patterns, I am given these words of encouragement: “You didn’t do too well today, but you are obviously better in other things.”
Another that is sure to delight is a
room of laser beams where the timed task is to shut off lights without piercing
the beams – very Oceans 11. (This task gauges your agility.)
All through, the exhibits personalize
the serious issue being raised – the history, technology, impact on society – with
real people, real events and real artifacts. This is serious business after all
with real life and death consequences. Double agents have been exposed and
executed; moles have exposed agents who were executed. Wars declared or
averted, extended or curtailed, won or lost.
As
you weave through, taking your own quizzes and tasks, the exhibits tell stories
about real spies, double agents, like Robert Hansen and how he was discovered.
Hansen’s treachery led to the unmasking of three soviets who spied for the US,
two of whom were executed. – how he was discovered and trapped. Would you have
detected Hansen’s deceit?
I have all sorts of trepidation about going into a small dark room which turned out to be the test of how well I could detect Deception (I think I do well at that one, probably by accident).
“Gadgets of defiance” describes the
devices that British and American operatives used to carry out perilous
missions in Nazi-occupied Europe – forged documents to support their cover
identifies; one-time encryption pads and miniature radios to communicate with
handlers. They supplied downed Allied pilots with escape maps and compasses and
targeted the enemy with weapons and explosives.
I learn about Virginia Hall, an
American special operations officer who, as a girl, had dreamed of joining the
US foreign service and became fluent in foreign languages, but after she lost
part of her left leg in an accident, her dream was cut off as well. When Hitler
invaded Paris in 1940, Hall was working for a French ambulance service. She
made her way to Britain and joined British special operations. She worked
as a journalist for the New York Post in occupied France, and the Germans
nicknamed Artemis;the Gestapo considered her “the most
dangerous of all Allied spies”. Virginia Hall was the “Limping Lady” of
the code scenario.
I learn
about Oleg Penkovsky, known as “HERO” who was a Soviet military intelligence
(GRU) colonel who was responsible for informing the United Kingdom about Soviet
installing missiles in Cuba. The information he provided helped Kennedy through
the Cuban Missile Crisis because he realized that a naval blockade could force
the Soviet Union to stand down. Penkovsky, the highest ranking Soviet official
to provide intelligence for the UK up until that time, is credited with
altering the course of the Cold War. He was executed six months after being
arrested.
I learn about the British couple, Ruari and Janet
Chisholm, who were his handlers in Moscow. Ruari was Moscow Station Chief for
M16, the British secret intelligence service. Janet collected much of
Pankovsky’s intelligence. During one “brush contact” he walked casually over to
her in a park and offered her children a tin of Vitamin C pills. Janet quickly
swapped the tin which contained military secrets for another identical one
hidden in her baby stroller. The thought of exposing children like that was
chilling. (There’s a photo of Janet with her children on a park bench.)
We meet the real life “Q” gadget wizard,
Charles Fraser Smith, who was Ian Fleming’s inspiration for the character he
used in James Bond. The
new multi-sensory James Bond experience explores the creative process behind
the 007 movies while revealing the secrets of James Bond’s iconic Aston Martin
DB5. You get to peek at gadgets in Q’s lab, examine original concept art in
Oscar®-winning Production Designer Sir Ken Adam’s studio and look behind the
scenes of Skyfall’s explosive finale.
At another section, you go through a
dark curtain and find yourself in this dark round room, illuminated only by
giant screens,that give you some sense of the state of surveillance (it is all
around). This
area showcases whistleblower Edward Snowden who exposed the NSA’s surveillance
programs and the reporters who have unmasked government secrets – Laura Poitras and Glenn Greenwald, the
journalists who exposed modern day slavery(old
school pad and pen, videocamera and computer are the weapons of choice).
This is where you see the message
blazing out of a giant screen: “You might be persuaded not to vote.” This is
the brave new world of intelligence – not extracting secrets, but in distorting
and implanting messages to shape, disrupt or derail society.
One of the last stations is actually
the most chilling: Hacktivism discusses hacking, hackers – by anarchists,
profiteers as well as nation states. Stuxnet, which was used to disrupt Iran’s
nuclear program (a centrifuge is on view). After Iran realized
what had been done, it called for the hackers to join in an army.
We learn that Stuxnet is now open
source, sold on the blck market, and could be used by any number of actors to
shut down electric grids, water systems or air traffic control or remotely give
instructions to launch a nuclear attack. And no one knows who has it.
And now, I am really to go into my “debrief –
encryption, deception, surveillance, special ops, brainpower (7/18), which
comes up with my spy role: Agent Handler (I suspect they give that one to all
those who don’t measure up as real spies).
But it isn’t done flippantly or
tongue-in-cheek. The authentic personal spy profile is based on psychologists
and a former Head of Training at British Intelligence, and sounds pretty
authentic (as were the short tests for which I was totally unprepared):
“Your Spy Profile is your unique (and
ever evolving) combination of attributes. When compared to others, it allows us
to determine the Spy Role you are best suited to.”
My profile – “empathetic, inquisitive, composed” – turns out
to be fairly accurate and also serious, developed with real psychologists.
Later in the day, I am sent a comprehensive
profile to my email and a
Welcome letter. “Your Spy Skills can be valuable in everyday life. We’ve evaluated
your Core Attributes and Spy Skills to determine your Spy Profile. Top
psychologists and spymasters helped us build our Spy Profile system. We hope
the self-knowledge in your Spy Profile will empower you, and inspire you to
further develop your Spy Skills.”
The missive gives me more detail about my role as Agent
Handler: A
manager of agents who provide secret intelligence or operational support, and
an insider view from General David Petreus.
In the real life example, I am given the bio of
the agent handler for my new spy hero, Oleg Penkovsky (his code name was Hero)
and the background that I found so compelling in the exhibit, about his
handler, Ruari Chisholm, and an example of a typical operation, procuring cover
material for an agent in the Iranian government who wants to provide info on
Iran’s potential to develop nuclear weapons.
(This makes me think of important omissions in
Spyscape: Valerie Plame, the CIA undercover agent who was infiltrating the Iran
nuclear program until Plame’s
identity as covert officer of the CIA working in counter proliferation was leaked to the press by members of George W Bush administration and
subsequently made public as
retribution for her husband, Ambassador Joseph Wilson’s reveal about the false
information that led to the US invasion of Iraq; she also had knowledge to
disprove Bush’s contention that the aluminum tubes that Iraq had could be used
as centrifuges for nuclear material. Also, how Andrew McCabe, the foremost
counter-intelligence expert on Russia, was drummed out of the FBI by Trump to
short-circuit the investigation into Russian collusion with the Trump campaign
and the 2016 election).
Spyscape will excite and thrill as
it informs and intrigues. It helps to be prepared in advance for what you will
encounter – I think I would have done considerably better and had better
attitude.
And like skiing, it is an experience
that adults and older children will relish doing together.
There is a continuing relationship – they send you the profile, and follow up with articles, stories, spy challenges, sharing news about factual and fictional worlds of spying and hacking “and helping you develop your own spy skills. We will be adding content from top hackers and spies to spyscape.com/academy so check in regularly to see what’s new.”
I think I’m being groomed. I’m
definitely intrigued.
From Spyscape, I walk down to the KGB Museum in
Chelsea. It is an interesting Spy v Spy counterpoint that enhances the
experience of each one separately.
Visiting: SPYSCAPE
is optimized for adults and teens, but children are welcome. Bringing
pre-school-age kids is not recommended. You
need about two hours. There is a pleasant café and the gift shop is loaded with
spy-related merch. Open Monday-Friday,
10 am-9 pm and Saturday-Sunday, 9am-9 pm, last entry at 7:30 pm. (Adult, $39;
child 3-12 $32).
This spring, the New-York Historical
Society presents Hudson Rising, a unique exhibition that explores
200 years of ecological change and environmental activism along “the most
interesting river in America” through artifacts, media, and celebrated Hudson
River School paintings.
On view March 1 – August 4, Hudson
Rising reflects on how human activity has impacted the river and, in
turn, how the river environment has shaped industrial development, commerce,
tourism, and environmental awareness. The exhibition also explores how experts
in various fields are currently creating ways to restore and re-engineer areas
of the river in response to climate change.
Indeed, we tend to think of the environmental movement as
originating with Yellowstone and the national parks, but it is fascinating to
realize that the beginning of environmental activism – and the techniques –
began here. Citizens rallied to oppose the construction of a Con Ed plant on
Storm King Mountain; one of the new organizations, Scenic Hudson, sued; the
case, in 1965 set a precedent beyond the Hudson, establishing that citizens
have standing to sue on behalf of conservation, even when they do not have a
direct economic interest, that beauty
and history also merit protection – the forerunner of the Environmental
Protection Act. Later, a “viewshed,” modeled on the concept of a watershed, in
connection with landscape painter Frederic Edwin Church’s Olana, also warranted
preservation.
The Hudson River raised consciousness of the importance of
environmental protection. the exhibit opens with paintings from Thomas Cole,
the founder of the Hudson River School art movement (America’s first
native-grown art movement), who worried even then about the encroachment of
development. His paintings depict an idyllic landscape, but also the
destruction of the forest to lumbering.
Much more than a body of water, the Hudson
and its surroundings have been the home for humans and hundreds of species of
fish, birds, and plants; offered an escape for city-dwellers; and witnessed
battles over the uses of the river valley and its resources. For over 200
years, writers and artists have captured the river in paintings, drawings,
literature, and photographs, and surveyors and scientists have mapped and
measured its every parcel.
The Hudson
has always encapsulated the tension between development and conservation. But
it was more than about aesthetics, and the need for urbanites to be able to
seek respite in the countryside: an early environmental scientist realized that
logging in the Adirondacks, which was discovered to be the source of the
Hudson, was jeopardizing the watershed supplying New York City.
Scientists at the same time discovered the critical link between
forests and the health of rivers. They realized the Adirondack forest supported
the Hudson River and aquatic animals. That begins the movement to save the
Adirondacks, including the forests. Ultimately, it leads to New York State’s
“Forever Wild” amendment to the state constitution, in 1894.
“This path-breaking exhibition explores
ideas about the environment that developed in the context of the Hudson,
examining how we became aware, as New Yorkers and as Americans, of the role
that humans played in the river’s ecological degradation,” said Dr. Louise
Mirrer, president and CEO of New-York Historical. “The exhibit also looks at
the strategies we devised to address it. Spanning the entire industrial
era, Hudson Rising presents a compelling account of how the
Hudson has been an incubator for our ideas about the environment and our
relationships to the natural world for two centuries-plus.”
Indeed, we learn that Theodore Roosevelt,
before creating the first national park as president, innovated environmental
protection as Governor of New York State, working with New Jersey, to protect
the Palisades as a “park for the people” (hugely popular with immigrants who
crammed into cities, the park had 2 million visitors in 1920, many who came by
a free ferry); similarly Franklin Roosevelt, when he was New York State
governor, created what would become the New Deal Civilian Conservation Corps
when he was president.
Curated by Marci Reaven, New-York Historical’s vice president of history exhibitions, and Jeanne Haffner, associate curator, Hudson Rising begins with a prelude featuring artist Thomas Cole’s panoramic five-part Course of Empire series (1834-36), a treasure of New-York Historical’s collection that depicts the transformation of a pristine landscape into a thriving city, then its dramatic decline, and the fall of civilization.
Cole railed against “human hubris” and the exploitation of nature. “The ranges of the ax are daily and increasing,” Cole said. “Nature has spread for us a rich and delightful banquet. Shall we turn from it?” he wrote in his “Essay on American Scenery” (1836). Cole’s poetic questioning of the social costs of what was seen in his time as progress, serves as a prelude to the exhibition narrative, which begins with the industrial age and continues into the present day. The Hudson River, we learn, was the incubator for the environmental movement.
The exhibition is organized chronologically
and geographically into five sections that highlight significant places and
events in the environmental history of the river: Journeys Upriver:
The 1800s, The Adirondacks: 1870s-1890s, The Palisades: 1890s-1950s, The Hudson
Highlands: 1960s-1980s, and A Rising Tide: Today.
The exhibit is designed to meander, like the river itself, and uses actual artifacts – there is even the smell of freshly cut wood from the Adirondacks – that bring you, as much as possible to the Hudson: bricks from Haberstraw; rocks from the Palisades; iron from Cold Spring Foundry across from West Point; wood from Catskills; hemlock (used for tanning), even a fish tank with striped bath (blue eels will be added later). “The layout is a metaphor for the river,” said Ken Nintzel, the designer.
There are historical maps – one of the most impressive is a panorama map from 1847 that stretches the length of a wall, that tourists would use, “one of the great maps of American history”- photos, paintings, news clips that trace the battle to reclaim the Hudson from industrial pollution. A map from 1890s shows how the Hudson was “redesigned” to make it more navigable for shipping, changing the way the river ran, but in the process, did away with the shallows that hosted aquatic life and mitigated flooding. Another map documents how plentiful oysters used to be – New York city used to be the primary exporter of oysters and clams – until sewage in the Hudson killed off the oysters.
The painting by Thomas Cole of the Catskill Mountain House reminds
that American tourism began here in the Hudson – today, you can hike up to
where the hotel used to be and gaze out over the Hudson.
The
exhibits surround you, and there are various interactive elements.
Journeys Upriver: The 1800s starts with a steamboat journey up the Hudson River from
the New York City harbor to Albany, inspired by one of the great tourist guides
of Hudson River history, the Panorama of the Hudson (1847).
The detailed rendering of the river landscape led steamboat and armchair
travelers from New York City to the last navigable point of the river near
Troy, pointing out natural wonders, Hudson Valley industries, notable
individuals, and Revolutionary War sites along the way. Also on view are
paintings, industrial objects, and an important Army Corps of Engineers map
that shows how the Corps engineered the river to be a more navigable and
predictable shipping channel. Hudson River School art on display include Robert
Havell Jr.’s View of Hudson River from near Sing Sing, New York (ca.
1850) and George Henry Boughton’s Hudson River Valley from Fort
Putnam, West Point (1855), both depicting tourists enjoying the
landscape.
The Adirondacks: 1870s-1890s examines the creation of Adirondack Park, established
to save the source of the river and combat deforestation in order to protect
the viability of the entire Hudson watershed. Advocates for the area included
surveyor Verplanck Colvin, who mapped the area’s peaks and lakes as
superintendent of the State Adirondack Survey and identified the source of the
river at Lake Tear of the Clouds, and Seneca Ray Stoddard, a photographer whose
images of deforestation made a case for forest conservation. On view in this
section is one of Asher B. Durand’s majestic depictions of the Adirondack wilderness, Adirondack
Mountains, New York (ca. 1870).
The Palisades: 1890s-1950s traces the protection of the forests and cliffs of
the Palisades to maintain the health of the river and preserve a place for
beauty and nature. In the late 1800s, the Palisades cliffs were being blasted
to bits by road builders who prized their rock. Citizen activists, such as the
New Jersey chapter of the General Federation of Women’s Clubs and the American
Scenic and Historic Preservation Society, fought back and helped create
Palisades Park in 1909. Residents of New York and New Jersey thronged to the
park, arriving by foot, ferry, train, and car, with over two million people
visiting in 1920 alone, most of them from Manhattan. The exhibition features a
selection of tourist brochures from that era, including one with a trio of
women posed on the cliff edge, above the river.
The Hudson Highlands: 1960s-1980s explores how activism along the river helped spark
the modern American environmental movement. By the early 1960s, untreated
sewage and industrial pollutants were poisoning the river. Increasing numbers
of power plants were also rising along the Hudson, whose operations were
killing millions of fish, and whose monumental structures were intruding upon
the most treasured vistas. When Con Edison announced plans to build a plant on
Storm King Mountain, citizen activists fought back and prevented its
construction. By the 1980s, citizens could legally intervene to stop
development that put treasured natural resources at risk. On view is an
aquarium featuring striped bass and other fish native to the Hudson River,
which now thrive due to activists’ efforts to save them. Displays of
artifacts, images, and media from the environmental campaigns of the era
include a 1983 photograph featuring John Cronin, river patroller for the Hudson
River Fisherman’s Association (now called Riverkeeper) on his first day on the
job, confronting an Exxon tanker discharging polluted water into the river.
The final section, A Rising
Tide: Today, discusses the process of reimagining and reclaiming the
Hudson River in the 21st century, as experts in many fields explore ways to
restore and re-engineer areas of the river in response to climate change. The
exhibition showcases innovative projects addressing these concerns, such as a
system of “living breakwaters,” reef-like structures designed to restore
diverse aquatic habitats, lessen wave impacts, and restore the shoreline,
implemented by the New York Governor’s Office of Storm Recovery and landscape architecture
firm SCAPE.
“We hope Hudson Rising will inspire visitors to
see the river differently, and how movements like environmental activism get
born,” Dr. Mirrer said.
“It’s not a new story, but this is the first exhibit that presents
such a comprehensive look at the Hudson River as an incubator of the
environmental movement.”
Programming
As part of New-York Historical’s What the
History programs, a suite of interactive talks, history classes, art-making
workshops, and social evenings for a young professional audience illuminates
the environmental history of New York, the lasting impact of the Hudson River
School painters on the American imagination, and how contemporary design and
ideas are engaging with the threats climate change pose to the city.
Visiting families can enjoy a special guide
featuring suggested exhibition highlights to view as a family, discussion
questions, and gallery-based activities. During the April School Vacation Week
(April 19-28), Museum’s family programs explore environmental activism,
including art making using recycled materials in Museum galleries. On the
weekends (April 20-21 and April 27-28) visiting families can interact with
Living Historians portraying famous and unsung activists of American history.
On April 16, architectural historian Barry
Lewis discusses how the Victorians “greened” their homes and cities, bringing
nature into city greenbelts and private home design. On May 22, Douglas
Brinkley, New-York Historical’s presidential historian, explores how presidents
like Theodore Roosevelt and Franklin Delano Roosevelt championed the protection
of the nation’s natural treasures and established a sprawling network of state
parks and scenic roadways, respectively. On June 9, author Leslie Day leads a
tour along the Hudson River exploring its rich geological and human history and
its diverse ecosystems.
Present
Day Relevance
The
exhibit is particularly timely: years of exploitation and pollution have
resulted in the entire Hudson River, from the Battery to Hudson Falls, some 200
miles, designated a superfund site by EPA. Mandated clean-up by industrial
polluters including General Electric, have significantly improved conditions.
But the Trump Administration’s EPA is moving to issue a Certificate of
Completion which would end GE’s responsibility for cleaning up the Superfund
site, despite the state’s research that shows high levels of PCBs remaining in
the river.
Governor
Cuomo issued a statement ahead of Administrator Wheeler’s visit to New York:
“In New York, we
are leading the fight to protect our environment with the most ambitious
environmental agenda in the nation. Administrator Wheeler, while you are in New
York, I urge you to visit the Hudson River, one of this country’s natural
treasures that is also one of the most pressing Superfund sites in the country.
New York has fought to restore this vital resource but the ball is now in the
EPA’s court. The EPA can either do the right thing and continue to hold GE
accountable for continued clean up, or they can side with big polluters and let
GE off the hook for its responsibility to clean up PCBs in the river.
“We refused to allow PCB
contamination to continue to jeopardize the health and safety of our
communities for generations to come. We hope and expect that the EPA will join
us in ensuring the full completion of the cleanup.”
I suggested Wheeler visit “Hudson Rising”.
The New-York Historical Society, one of America’s preeminent cultural institutions, is dedicated to fostering research and presenting history and art exhibitions and public programs that reveal the dynamism of history and its influence on the world of today. Founded in 1804, New-York Historical’s mission is to explore the richly layered history of New York City and State and the country, and to serve as a national forum for the discussion of issues surrounding the making and meaning of history. New-York Historical is also home to the Patricia D. Klingenstein Library, one of the oldest, most distinguished libraries in the nation—and one of only 20 in the United States qualified to be a member of the Independent Research Libraries Association—which contains more than three million books, pamphlets, maps, newspapers, manuscripts, prints, photographs, and architectural drawings.
New-York Historical Society, 170 Central Park West (at 77th Street), www.nyhistory.org.
See
for Yourself: Hike the Hudson River School Art Trail
Walk in the footsteps of the Hudson River School artists Thomas Cole, Frederic Church, Asher B. Durand, Jasper
Cropsey, Sanford Gifford and other pioneering American landscape artists,
literally walking into their paintings, and appreciating their work in an
entirely new way.
See what inspired Thomas Cole, his art and his passion to save the Hudson Valley environment, when you visit his home and art studio. Visit Frederic Edwin Church’s magnificent Olana, walk the gorgeous trails and see the very first protected “viewshed” (Olana State Historic Site, 5720 State Route 9G, Hudson, NY 12534, 518-828-0135, olana.org.) Hike the trails that take you up to where the Catskill Mountain House would have stood, to Sunset Rock, to Kaaterskill Falls, North-South Lake, just as the Hudson River School painters did, often with markers that show the paintings that were created from that very same vantage point.
“The Hudson River School painters
believed art to be an agent of moral and spiritual transformation. In
large-scale canvases of dramatic vistas with atmospheric lighting, they sought
to capture a sense of the divine, envisioning the pristine American landscape
as a new Garden of Eden. Their work created not only an American art genre
but also a deeper appreciation for the nation’s natural wonders, laying the
groundwork for the environmental conservation movement and National Park
System.”
Most of the stops on the trail are within 15 miles of the Thomas Cole National Historic Site, in Catskill. (Thomas Cole National Historic Site, 218 Spring Street, Catskill, NY 12414, 518-943-7465, thomascole.org)
We have become well aware how terrifying Tyrannosaurus rex was, but who knew that T. rex hatchlings were fluffy and gangly, more like turkeys than the massive killing machines they grow to be? Or that the mega-predator had the rare ability to pulverize and digest bones and re-grow its teeth? Or that it grew at the rate of 140 lbs. a month, weighing 6 to 9 tons when fully grown and lived no more than 28 years? That it had excellent vision and sense of smell, but puny hands that probably were vestigial? T. rex: The Ultimate Predator, the first major exhibition of the American Museum of Natural History’s 150th anniversary celebration, brings us face to face with the most iconic dinosaur in the world through life-sized models—including the most scientifically accurate representation of T. rex to date–fossils and casts, engaging interactives, and the Museum’s first multiplayer virtual reality experience.
T. rex: The Ultimate
Predator opens Monday,
March 11, 2019 and will be on view through August 9, 2020, when the exhibit
will likely go on tour.
Founded in 1869, the Museum has a long and celebrated history of international exploration and research in paleontology dating back to the 1890s, with an outsized influence in a field that sits at the intersection of cutting-edge science and the popular imagination. The Museum has a particularly special relationship to T. rex: its famous paleontologist, Barnum Brown, was the first to discover T. rex – in 1902 in Montana – and the first T. rex on display anywhere was here at the museum. This makes the new blockbuster exhibit, T. rex: The Ultimate Predator, inspired by a legacy of scientific exploration and bringing the latest science to the public, a natural launching point for the museum’s 150th anniversary programming.
With
more than 120 years of dinosaur research and discovery, the Museum continues to
be a leader in this field. Its paleontology collection is one of the largest
and most diverse in the world, with specimens that have led to amazing
discoveries, including the identification of the first dinosaur eggs and early
evidence of dinosaur feathers. A number of recent discoveries about the
tyrannosaur group are highlighted in this exhibition.
“Dinosaurs,
and Tyrannosaurus rex in particular,
are such an important and iconic part of the Museum and have been throughout
our history,” said Ellen V. Futter, President of the American Museum of Natural
History. “So it seems fitting to launch the Museum’s 150th Anniversary
celebrations with a major new exhibition on the ever-intriguing King of
Dinosaurs. This exciting and fascinating exhibition will do what the
Museum has done throughout its history and continues to do today: share the
latest scientific breakthroughs with the public, introduce visitors to the
researchers on the cutting-edge of discovery, shed new light on the great story
of life on Earth, and inspire wonder and curiosity in visitors of all ages.”
Indeed, while Barnum assembled the most complete collection of dinosaur fossils in the world for the museum, the museum has some 34 million specimens and artifacts – one of the most important collections of natural history anywhere. Its library and archives of research documents – like Barnum’s own field notes and letters which show how painstaking and difficult the expeditions were – are the most complete and extensive in the world.
”Dinosaur
fossils, like other echoes of ancient life, are discoveries of the science of
paleontology. But dinosaurs have a special status that transcends their
importance to science—they fascinate and inspire the masses like few other
animals—living or extinct—can,” said Michael Novacek, the Museum’s senior vice
president and provost for science. “Chief among them is T. rex, perhaps the most famous and celebrated dinosaur that ever
lived.”
Visitors
to T.
rex: The Ultimate Predator encounter a massive life-sized model of a T.
rex with patches of feathers—the
definitive representation of this prehistoric predator. The exhibition includes
reconstructions of several T. rex hatchlings and a four-year-old
juvenile T. rex; a “roar mixer” where visitors can imagine
what T. rex may have sounded like by
blending sounds from other animals; a shadow theater featuring a floor projection
of an adult T. rex skeleton coming to
life; and a life-sized
animation of T. rex in a Cretaceous
environment that responds to visitors’ movements. At a tabletop “Investigation Station,” visitors can explore a variety of
fossil casts ranging from coprolite (fossilized feces) to a gigantic femur,
with virtual tools including a CT scanner, measuring tape, and a microscope to
learn more about what such specimens can reveal to scientists about the biology
and behavior of T. rex.
T.
rex: The Ultimate Predator is curated by Mark Norell, who joined
the Museum in 1989. Norell, who is the Macaulay Curator in the Museum’s
Division of Paleontology and its chair, has led and participated in a number of
scientific investigations into the biology and evolutionary history of
tyrannosaurs and other theropods—the group of dinosaurs most closely related to
modern birds. His work includes the first discovery of a feathered tyrannosaur,
Dilong paradoxus, in China in 2004. In
addition to Dilong, many of the
species studied by Norell and his colleagues and former students, and recent
research findings, are featured in the new exhibition.
“In the last 30 years, we’ve seen a huge
increase in both the number of tyrannosaur fossil discoveries as well as the
availability of technology that lets us explore complex questions about these
charismatic animals,” Norell said. “I never would have imagined that one day
we’d be able to look at the shape of T.
rex’s brain, analyze the tiny daily growth lines on their massive teeth to
determine how quickly they put on weight, or use advanced biomechanical
modeling to figure out the force of its bite.”
Humble Origins
T. rex may have been a mega-predator, but it evolved from humble origins. The full tyrannosaur family includes more than two dozen different species and spans more than 100 million years of evolution, with T. rex appearing only at the very end of that period, between 66 and 68 million years ago. Most dinosaurs in the superfamily Tyrannosauroidea were not giants like T. rex, which, fully grown, weighed between 6 and 9 tons. Early species were small and fast, likely avoiding confrontations with larger dinosaurs.
In
the exhibit, we come face to face with life-size
models of a number of tyrannosaurs, including: Proceratosaurus bradleyi, the earliest known tyrannosaur that
lived about 167 million years ago and was about the size of a wolf with a crest
on its snout; Dilong paradoxus, which like many early tyrannosaurs, had arms
that were relatively long and capable of seizing small prey, and was the first
tyrannosaur found with fossilized feathers (discovered by exhibition curator
Mark Norell and his colleagues in China); and Xiongguanlong baimoensis,
a mid-sized tyrannosaur that, when it was discovered in 2009, offered a rare
glimpse of a transitional species between the smaller early tyrannosaurs and
the later giants.
The exhibit features interactive elements: visitors are tasked with placing various tyrannosaur family members in the correct time period on a magnetic wall and can experiment with a praxinoscope that animates the difference between walking and running—T. rex could only truly run when it was young. A hands-on interactive lets visitors attach the right size tail to a T. rex torso to create a balanced posture.
Getting Big
How did T. rex get so big when its ancestors were so small? And how did a young T. rex, the size of a turkey grow to the size of a truck? The simple answer: by growing very quickly. T. rex reached full size by its early 20s—about as fast as a human does—but it put on much more weight in that time, gaining up to 140 pounds (65 kg) per month. The exhibition shows T. rex in early developmental stages, showing how the dinosaur transformed from a vulnerable hatchling with a more than 60 percent chance of succumbing to predators, accidents, disease, and failure to find food in its first year of life, to a gargantuan predator at the top of the food chain. No T. rex has been found that has been identified as being older than 28 years.
“T. rex was the ‘James Dean’ of dinosaurs; he would have been very beat up,” said Gregory Erickson, paleobiologist from Florida State University.
Much
of what we see in the exhibit is the result of a new approach to studying
dinosaurs – integrating other scientific disciplines, such as molecular biology
and chemistry, and comparative techniques to contemporary animals such as
crocodiles and birds, as well as new technologies like 3D scanning.
The
latest understanding also presents T. rex’s “arms” as even tinier than before,
suggesting that they had no function and were vestigial in the course of
evolution. Also, the “hands” have two fingers instead of three.
So far, though, the scientists have been unable to determine a dinosaur’s sex from the skeleton. “It would be nice to know the sex ratio to understand population biology, how bodies changed over their lifespan,” Erickson said. “You have to appreciate just how rare these specimens are – just 1,000 dinosaurs have been named.”
Erickson explains that though scientists know what strata to search, it has to be relatively close to the surface for paleontologists to safely extract the bones without damaging them; also, many of the sites where dinosaurs might be found are in very remote, difficult places. And it may well be true that there were relatively few of the largest dinosaurs, because of the supply of resources available.
The
exhibits display T. rex at various stages of its development.
We see a life-size
model of a four-year-old T. rex,
which although not yet the “king” it would become in adulthood, would have
weighed about five times more than a four-year-old boy and was as large as any
other predatory dinosaur in its habitat. Fully covered in feathers for warmth
and camouflage, this juvenile T. rex
had relatively long arms (unlike its adult counterparts), a slim body, and
bladelike teeth that could cut through flesh but were not yet capable of
crushing bone.
We
encounter a real fossil of a T. rex toe bone and a touchable cast of a T. rex thigh bone to gain a sense of scale for the fully grown
giant, which stood about 12 to 13 feet high at the hip and was about 40 to 43
feet long. Fossil casts from a close relative to T. rex, Tarbosaurus bataar, illustrate that T. rex wasn’t the only tyrannosaur that looked and behaved
dramatically differently throughout its life. A cast of the youngest and most complete juvenile tyrannosaur fossil
found to date, a two-year-old Tarbosaurus,
has a delicate skull with thin bladelike teeth it likely used to catch small
vertebrates and insects, while the cast
of the huge adult Tarbosaurus skull
indicates that when fully grown, it used its heavy, bone-crushing teeth and
jaws to eat large animals.
Biggest,
Baddest Tyrannosaur
All tyrannosaurs were built to kill,
but the biggest and baddest of them all was T. rex. With its huge size,
sharp claws, and teeth that could bite through bone, it dominated the
competition. New research shows that a T.
rex could bite with about 7,800 pounds of force—equivalent to the weight of
three cars – compared to 3,700 pounds of force of a modern crocodile.
We see a fossil of one of these huge, banana-shaped teeth, which relied on
deep roots to withstand the immense forces during a bite, as well as a cast of a fossilized T. rex lower jaw demonstrating the constant replacement cycle
of its fearsome teeth. A full-scale
reproduction of the T. rex fossil
skeleton on display in the Museum’s Hall of Saurischian Dinosaurs—in a
different pose—is the subject of the exhibition’s “shadow theater,” in which the skeleton’s 40-foot shadow (somewhat
jarringly) “comes to life” and demonstrate to visitors how the animal moved and
interacted with prey and its own kind.
Scientists long suspected T. rex could bite through bone, thanks to fossils of its powerful skull and teeth. But now there’s proof in fossilized feces, or coprolites, which contain many tiny chunks of bones eroded by stomach acid. High-tech imaging tools like CT scanners, X-ray fluorescence, and microprobe analysis reveal that T. rex was one of the rare species on Earth that could pulverize and digest solid bone. In fact, some T. rex coprolites are 30-50 percent crushed bone. The exhibition features a cast of one of these telltale coprolites as well as a cast of a tail bone from a duck-bill dinosaur with an embedded T. rex tooth surrounded by new bone growth, indicating that T. rex was not just a scavenger but also attacked live prey.
We learn about the fierceness of two
other top predators in the tyrannosaur subfamily, which lived side by side in
Asia about 70 million years ago: Alioramus
and Tarbosaurus. Bulky Tarbosaurus and nimble Alioramus likely specialized in
different prey, much like lions and leopards do today.
Keen Senses of Sight, Smell
We know T. rex from fossils—but what was it like in the flesh? The exhibition’s massive life-size adult T. rex model is based on the most
up-to-date findings and represents the most scientifically accurate
representation of this pop culture icon to date. New research on this powerful
hunter’s senses show that keen vision, smell, and hearing made it very hard for
this predator’s prey to avoid detection.
Brain
casts indicate that T. rex had
excellent vision. Its eyes, the size of oranges—some of the largest eyes of any
land animal—faced forward like a hawk and were set wider apart than most other
dinosaurs, giving it superior depth perception.
How
can you tell the shape of an extinct animal’s brain? Soft tissues such as
brains rarely fossilize. But fossilized skulls often contain a space where the
brain used to be, revealing its precise shape. Scientists use these fossilized
brain cases to make a model, or endocast, of the missing brain. They also use
CT scanning to make a 3D printout of the brain. The exhibition includes a fossilized partial brain case of a T. rex as well as the endocast
scientists created from it for study.
By comparing the areas of the
brain that are responsible for scent, vision, and hearing in tyrannosaurs’
closest living relatives, birds and crocodilians, researchers have determined
that the T. rex brain had similar
regions. For instance, T. rex had an
unusually large olfactory region for a dinosaur, indicating it had a very good
sense of smell. Also like their alligator and crocodile cousins, tyrannosaurs would
likely have had highly sensitive faces. Visitors
can inspect the series of tiny holes on a fossilized skull of Daspletosaurus torosus, a tyrannosaur
that lived between 77 and 74 million years ago. The holes are nearly
identical in number and location to those on an alligator, which have jaws so
sensitive to touch that they can gently pick up an egg or tiny hatchling
without harming it. Fossils of T. rex
show similar rough, pitted surfaces, suggesting it also had similar sense
organs.
Technology has allowed scientists
to uncover a great deal about the inner workings of these gigantic predators,
but a number of mysteries remain. For one, what did a T. rex sound like? No one knows. But a logical place to start is to
study their closest living relatives. In the exhibition, a“roar mixer” enables visitors
to combine the calls of birds and crocodilians with the sounds of contemporary
large animals such as elephants, whales, and bison to create a customized roar
that accompanies an animated T. rex.
And what about its outward appearance? Feathers are very delicate and are rarely preserved, and they haven’t been found yet on T. rex. But many other dinosaur fossils, including those from other tyrannosaurs and their relatives, preserved feathers, suggesting that T. rex had at least some feathers. Many scientists think that T. rex hatchlings were probably covered in fuzz like a duckling—but adults were mostly covered in scales, likely with patches of display feathers concentrated on attention-getting areas such as the head and tail. Nobody knows what color T. rex was, and it is often depicted as drab, like a crocodile. But reptiles come in every color of the rainbow, so T. rex could have been brightly colored. Exhibition visitors get to choose from a wide palette of colors, stripes, and spots to imagine what T. rex may have looked like in an engaging interactive experience.
Despite
the high level of scientific research that has gone into T. rex: The Ultimate
Predator, the notes that accompany the displays are designed to be accessible
especially for young people who will be enthralled.
At the end of the exhibition, there is a 32-foot long animated projection of a T. rex and its offspring in a Cretaceous-age setting. The huge dinosaur seems to react to visitors, leaving you wondering, “Did that T. rex see me?”
Engaging with T. rex in Virtual Reality
The
Museum’s science visualization group renders the latest scientific discoveries
in paleontology and other fields through the visualization of big
data. Using digital technologies, scientists today observe, measure, and reproduce
hidden dimensions of the natural world. From the edges of the observable
universe to the evolution of life on Earth, researchers are developing a
radically new understanding of nature that the Museum strives to communicate to
visitors in highly authentic, intuitive, and novel ways. One of these is
virtual reality: an experiential tool that uses objects, models, photos, video
footage, and other types of physical evidence of life history to engage and
excite visitors.
As
part of T. rex: The Ultimate Predator, the Museum will present T.
rex: Skeleton Crew, its first
interactive, multi-player virtual reality experience, created in
collaboration with HTC VIVE. The five-minute
experience will be offered to visitors ages 12 and up within the exhibition.
“Virtual
reality is a magical realm in which our perceptions of time and space are
suspended,” said Vivian Trakinski, the Museum’s director of science
visualization. “In virtual reality, nothing is too small, too big, too fast,
too slow, too distant, or too long ago to be appreciated. We hope this
technology will let our visitors experience the most fantastic and inaccessible
realms of nature.”
“Through VR, visitors can engage with the subject of the exhibition in an exciting, in-depth way that enriches their knowledge and leaves a lasting memory for years to come,” said Victoria Chang, director of HTC VIVE Arts. “This remarkably engaging VR project harnesses the power of premium VR, bringing visitors closer to the anatomy, scale, and majesty of T. rex like never before.”
The facilitated experience “transports” as many as three players at a time to a space similar to the Museum’s Hall of Saurischian Dinosaurs, where they team up to build a T. rex skeleton bone by bone. Once all of the bones are in place, the players watch as the T. rex comes to life in marshland that is now Montana, its home 66 million years ago.
A home version of T. rex: Skeleton Crew will launch on VIVEPORT, HTC VIVE’s global platform and app store, for VIVE owners in summer 2019.
The
American Museum of Natural History, founded in 1869, is one of the world’s
preeminent scientific, educational, and cultural institutions. The Museum
encompasses 45 permanent exhibition halls, including those in the Rose Center
for Earth and Space and the Hayden Planetarium, as well as galleries for
temporary exhibitions. It is home to the Theodore Roosevelt Memorial, New York
State’s official memorial to its 33rd governor and the nation’s 26th president,
and a tribute to Roosevelt’s enduring legacy of conservation.
The Museum’s five active research divisions and three cross-disciplinary centers support approximately 200 scientists, whose work draws on a world-class permanent collection of more than 34 million specimens and artifacts, as well as on specialized collections for frozen tissue and genomic and astrophysical data and on one of the largest natural history libraries in the world. The museum is the launchpad for some 100 expeditions a year. Through its Richard Gilder Graduate School, it is the only American museum authorized to grant the Ph.D. degree and also to grant the Master of Arts in Teaching degree.
Visits to the museum have grown to 5 million, and the Museum’s exhibitions and Space Shows are seen by millions more in venues on six continents. The Museum’s website, mobile apps, and massive open online courses (MOOCs) extend its scientific research and collections, exhibitions, and educational programs to additional audiences around the globe.
Open daily from 10 am – 5:45 pm except on
Thanksgiving and Christmas.
American Museum of Natural History, Central Park West at 79th Street, New York, NY 10024-5192, 212-769-5100, amnh.org.
Dragons and dancers paraded through New York
City’s Chinatown on Sunday, February 17 to usher in the Year of the Pig in the city
with the largest population of Chinese descent outside Asia.
The parade is a colorful pan-Asian procession that incorporates the great variety of Chinese traditions – with a smattering of Brazilian drummers, Hispanic dancers, and Irish bagpipers. Tens of thousands lined the parade route as it wound from Hester Street, Mott, Broadway, and Forsyth to Sara D. Roosevelt Park, with US Senator Charles Schumer and NYC Mayor Bill DiBlasio among other elected officials, along with leaders from the Chinese community, leading the way.
In
his remarks to the gathering before the parade got underway, Senator Schumer
applauded the contributions of “immigrants from all over who made America
great.”
With a population estimated between 70,000 and 150,000,
Chinatown has been a favored home for Chinese immigrants. Indeed, Lower
Manhattan has long been a haven for immigrant communities, from Jews in
neighboring Lower East Side (the Tenement Museum), and Italians in Little
Italy, and today, Dominicans, Puerto Ricans, Burmese, Vietnamese, and Filipinos
among others add to the multicultural mosaic.
The Lunar New Year is cherished as a time to embrace family and heritage.
“Lunar New Year is the liveliest and most important celebration
in Chinese culture and Chinatown is the place to experience it!”
And the parade is an expression of celebration for Chinese heritage in America – as evidenced by the sheer variety of costumes and traditions on display.
Here are highlights:
The Museum of China in the Americas (MOCA)
offers a walking tour that takes visitors through Chinatown to learn about
holiday traditions and customs observed by Chinese households. Witness how the
neighborhood transforms itself in preparation for the New Year and discover the
characteristics that make this holiday unique.”
Tours are conducted in English and are led by MoCA docents with
personal or family roots in the neighborhood. In case of inclement weather,
tours will be held in the galleries. Advance reservations are required. For
information and reservations call 212-619-4785 or purchase tickets online, www.mocanyc.org.
(Museum of Chinese in America, 215 Centre Street New York, NY 10013, 855-955-MOCA).
Millions will line the Macy’s Thanksgiving Day Parade route despite record cold temperatures for the 92nd annual parade, but on the night before Thanksgiving, tens of thousands come out to take part in a pre-holiday festival, which has come to be known as the Macy’s Balloon Inflation.
After braving lines that funnel through 73rd and Columbus to Central Park West, snaking up to 77th Street, they get to see up close as 16 giant character helium balloons and 43 novelty/ornament balloons, balloonicles (a hybrid balloon and vehicle that Macy’s invented), balloonheads and trycaloons (a Macy’s hybrid tandem bicycle and balloon concoction) being readied for their Thanksgiving Day flights. The new class of balloons includes the anime star Goku from “Dragon Ball Super, Broly”; Fleck, Bjorn, Jojo and Hugg the elf stars of Netflix’s “The Christmas Chronicles,” Little Cloud by Friends With You; the newest entry into the Parade’s Blue Sky Gallery series of balloons by renowned contemporary artists, the Go Bowling pins and bowling ball balloonicles; Sinclair’s Baby Dino balloonicles and the astronaut star of Macy’s Christmas celebrations, Sunny the Snowpal.
Hundreds of volunteers take part in the event, many who will be proudly marching with their balloons the next day. Among them, Douglas Malnati, who has been one of the balloon volunteers for 15 years, starting right out of college. He’s otherwise an IT guy.
Here’s who to look for in the parade
CHARLIE BROWN PEANUTS WORLDWIDE
Everyone’s favorite blockhead, PEANUTS’ Charlie Brown once again flies through New York City with his trusty kite. This November, Charlie Brown will practice his flight moves ahead of next year’s celebration of the 50th anniversary of man- and beagle-kind landing on the moon! The celebration kicked off in July with the signing of a Space Agreement with NASA to bring the joy of space exploration to a new generation. Despite getting tangled with his kite’s tail, Charlie Brown is sure to arrive just in time to 34th Street for his big moment in the spotlight. Balloon Dimensions: 53-feet long, 31-feet wide, 46-feet tall Fun Fact: Charlie Brown’s famous kite measures 26-feet wide and nearly 30-feet tall and its tail is more than 80-feet long.
DIARY OF A WIMPY KID® ABRAMS CHILDREN’S BOOKS
The mega-popular star of the internationally best-selling book series, Greg Heffley will fly in the Parade for the ninth time this Thanksgiving. The second edition of the Diary of a Wimpy Kid balloon takes its third trip down the Parade route celebrating the release of the 13th book in the series, “Diary of a Wimpy Kid: The Meltdown.” As always, Greg will delight millions of fans as he seemingly slips on ice during his Parade march down the streets of New York City. Balloon Dimensions: 62-feet long, 32-feet wide, 62-feet tall Fun Fact: 2018 marks the ninth Parade appearance for Diary of a Wimpy Kid, and the third flight of the latest version of the main character Greg Heffley as a balloon giant.
SINCLAIR’S DINO® SINCLAIR OIL CORPORATION
America’s most famous Apatosaurus, Sinclair’s DINO (pronounced DYE-NO), returns to New York City after traveling across the country visiting stations and meeting fans. DINO is a classic Parade balloon, first appearing in the 1963 Macy’s march. Balloon Dimensions: 72-feet long, 24-feet wide, 36-feet tall Fun Fact: The original DINO balloon was inducted as an honorary member of the Museum of Natural History in 1975, and the balloon returned to the Macy’s Parade in 2015, after nearly 40 years.
THE ELF ON THE SHELF® The holiday season would not be the same without Santa’s trusted Scout Elves. The arrival of the Elf on the Shelf® balloon marks the kickoff of the holiday season for families across the country as they prepare to welcome back their Scout Elves during Scout Elf Return Week™. Balloon Dimensions: 46-feet tall, 28-feet wide, 64-feet long Fun Fact: The Elf on the Shelf balloon is one of the biggest balloons in the Parade by height, width and length.
DRAGON BALL SUPER: BROLY’S GOKU FUNIMATION® The legendary hero of Dragon Ball takes to the streets of Manhattan for his Parade debut this year ahead of his starring role in the North American theatrical release of Dragon Ball Super: Broly this January. Goku, the star of the iconic Japanese animation franchise Dragon Ball, is a Saiyan warrior who was sent to destroy Earth as a child. When a brain injury changed Goku’s programming, he became peaceful, good-natured, loving and honest – many adjectives that describe the celebration of Thanksgiving! Balloon Dimensions: 70-feet long, 36-feet wide, 56-feet tall Fun Fact: The Goku balloon is depicted in his new Super Saiyan Blue form, which represents a new era of the Dragon Ball franchise.
ILLUMINATION PRESENTS DR. SEUSS’ THE GRINCH ILLUMINATION ENTERTAINMENT Everyone’s favorite Christmas curmudgeon returns this Thanksgiving as The Grinch, along with his loyal dog Max, return to the Parade route trying to steal more than just Santa’s thunder. With a sack full of toys the duo celebrates their second Parade this year and the release of the new comedy Illumination Presents Dr. Seuss’ THE GRINCH Balloon Dimensions: 49-feet long, 24-feet wide, 37-feet tall Fun Fact: The Grinch and Max are only the fourth-ever giant balloons to take flight as a duo in the Parade’s history.
JETT BY SUPER WINGS™ ALPHA GROUP Jett, the fun-loving transforming plane from the animated preschool series Super Wings on both Netflix and Universal Kids, is used to adventure as he travels the world delivering packages to children and solving problems along the way. This November he will be fueled and ready for takeoff on his second flight through the streets of New York City Thanksgiving morning. Balloon Dimensions: 47-feet long, 39-feet wide, 31-feet tall Fun Fact: Jett made his debut in 2017 and is the widest balloon in the Parade — his wingspan is equal to the size of an actual Learjet.
OLAF WALT DISNEY ANIMATION STUDIOS Olaf, the beloved snowman from Disney’s Frozen, returns to the Macy’s Parade with his usual cheerful disposition on full display. Taking a break from his starring role in the hit Broadway Musical Disney’s Frozen, Olaf will spread dazzling smiles down the route, warming the hearts of millions of spectators this Thanksgiving. Balloon Dimensions: 58-feet long, 32-feet wide, 60-feet tall Fun Fact: Olaf is the first-ever Macy’s balloon to glisten, mimicking real snow. This required perfecting the right mixture of white shades of paint and glitter that truly make Olaf standout as he takes flight down the Parade route.
PAW PATROL® SPIN MASTER LTD. & NICKELODEON Showing the citizens of New York that “no job is too big, no pup is too small” Chase the Police pup from the popular preschool series, PAW Patrol, is ready to protect all as he flies down the 2.5-mile route this November. Balloon Dimensions: 60-feet long, 36-feet wide, 43-feet tall Fun Fact: Chase’s hat could cover an actual police squad car and his paws are larger than two full-grown German shepherd dogs.
PIKACHU™ THE POKÉMON COMPANY INTERNATIONAL The much-loved Pokémon Pikachu returns to the Macy’s Thanksgiving Day Parade for the 18th consecutive year – just in time for the launch of Pokémon: Let’s Go, Pikachu! and Pokémon: Let’s Go, Eevee, the newest video games from the popular entertainment franchise. This year, Pikachu is bundled up in a warm scarf for the chilly New York weather, ready to celebrate the beginning of the holiday season with fans. Balloon Dimensions: 36-feet long, 29-feet wide, 53-feet tall Fun Fact: While the Parade’s third version of Pikachu is of giant proportions, Pikachu in reality officially measures just 1-foot, 4-inches tall.
PILLSBURY DOUGHBOY™ PILLSBURY™ Inspiring Thanksgiving bakers across the country, the classic Pillsbury Doughboy celebrates the fall spectacular at Macy’s alongside millions of Americans as they enjoy both his cheerful giggle and home baked holiday treats. Balloon Dimensions: 54-feet long, 34-feet wide, 46-feet tall Fun Fact: It would take more than four million Pillsbury Crescent Rolls to create a “dough-sized” version of the balloon.
RED MIGHTY MORPHIN POWER RANGER HASBRO The 92nd Parade marks The Power Rangers’ historic 25th anniversary. It remains one of the longest running live action children’s series in television history. The iconic Red Mighty Morphin Power Ranger balloon will remind millions of Parade spectators that it’s Morphin Time! this Thanksgiving. Balloon Dimensions: 77-feet long, 26-feet wide, 56-feet tall Fun Fact: The larger than life Red Mighty Morphin Power Ranger is the longest balloon in the Parade; one of his arms is the length of a standard school bus at 45-feet.
RONALD McDONALD® McDONALD’S® Ronald McDonald, the world’s most famous clown and McDonald’s Chief Happiness Officer, gives his signature “thumbs up!” to the season of thanks as he joins millions in celebrating the start of the holiday season. Ronald says; “see a smile, share a smile” and he is sure to delight spectators and prompt millions of smiles across the country. Balloon Dimensions: 61-feet long, 29-feet wide, 67-feet tall Fun Fact: The iconic “Big Red Shoes” Ronald is wearing are 6-feet long!
SPONGEBOB SQUAREPANTS NICKELODEON The nation’s favorite pineapple-dwelling sea sponge, will celebrate his 14th Parade this Thanksgiving. Next year, Nickelodeon invites fans to join a celebration of 20 years of SpongeBob – one of the most beloved animated characters in TV history – with a new season of episodes, events and more. Balloon Dimensions: 41-feet long, 34-feet wide, 44-feet tall Fun Fact: SpongeBob SquarePants defied gravity as the first-ever square Parade balloon and is pulled into his signature shape by more than 800 internal tie-lines.
TOOTHLESS DREAMWORKS ANIMATION’S HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD The world’s most heroic dragon, Toothless will return this fall for a new flight down the Parade route. The famed Night Fury will fly above the streets of Manhattan, before he and his Viking friend Hiccup are seen in DreamWorks Animation’s How to Train Your Dragon: The Hidden World ,which opens in theaters nationwide this winter. Balloon Dimensions: 72-feet long, 36-feet wide, 48-feet tall Fun Fact: This midnight-colored dragon used a special paint to get his signature color. It collects heat in order to properly conserve his helium filled structure.
NOVELTY BALLOONS FLECK, BJORN, JOJO AND HUGG NETFLIX’S “THE CHRISTMAS CHRONICLES” Meet Fleck, Bjorn, Jojo and Hugg. These charming elves will help Santa save Christmas in the new Netflix film “The Christmas Chronicles.” You can often find tiny Fleck carrying Santa’s bag tracker and Bjorn in a candy cane-fueled toy-making frenzy, while troublemaker Jojo delivers letters to Santa and Hugg is hard at work making toys with his chainsaw. Balloon Dimensions: 16, 20-feet wide, 30-feet tall Fun Fact: The Christmas Chronicles elves are the first Netflix balloons to be featured in the Parade.
LITTLE CLOUD FRIENDSWITHYOU™ Little Cloud, the iconic emblem of art collaborative FriendsWithYou, takes to the sky on Thanksgiving as part Macy’s Blue Sky Gallery series, which invites contemporary artists to recreate their work as Parade balloons. Artists Samuel Borkson and Arturo Sandoval III will join Little Cloud and two raindrops in this year’s Parade, creating an artistic expression of joy and love fitting for the iconic Macy’s Parade route. Balloon Dimensions: 22-feet tall, 30-feet wide Fun Fact: Little Cloud represents the seventh balloon in Macy’s Blue Sky Gallery art balloon series.
THE NUTCRACKER UNIVERSAL ORLANDO RESORT™ This classic Christmas decoration appears in the form of a super-sized balloon to help kick off the holiday season! The Nutcracker balloon made its debut in the 2017 “Universal Holiday Parade featuring Macy’s” at Universal Studios Orlando, and marched its way up to New York to join the Parade this Thanksgiving. Balloon Dimensions: 45 feet tall, 18.5 feet wide, 16-feet long Fun Fact: The Nutcracker balloon is 24 times the size of the traditional holiday decoration.
SUNNY THE SNOWPAL One of the many holiday heroes in this year’s Parade is Macy’s very own Snowpal, Sunny! This cool cosmonaut comes to the rescue with her friend Fox when Santa’s sleigh breaks down on Christmas Eve. Blasting off in her rocket ship, Sunny works her magic to repair the sleigh and save the day, showing us all that there are so many reasons to believe in the wonder of giving! Balloon Dimensions: 26-feet tall, 19-feet wide, 16-feet long Fun Fact: Sunny is an original character created for Macy’s 2018 holiday campaign.
BALLOONICLES (A Macy’s Parade innovation, hybrid cold air balloon and self-propelled vehicle) BABY DINOS SINCLAIR OIL CORPORATION The three newborn Baby DINOS from Sinclair Oil Corporation are anything but prehistoric! The adorable Apatosaurus trio came straight from the nest to join the Sinclair DINO balloon in this year’s Parade. Fun Fact: Like the Sinclair DINO balloon, the Baby DINO balloonicles appear in life-size form. GO BOWLING There will be turkeys at Thanksgiving meals and on the Parade route this year with the new Go Bowling™ balloonicles. Two bowling shoes and six bowling pins will be chased by a determined bowling ball down the route. Fun Fact: With 16-foot-tall bowling pins and a 12-foot diameter bowling ball, this Balloonicle is sure to score! 5 THE AFLAC DUCK AFLAC, INC. The world’s most famous “spokesduck,” the Aflac Duck has returned for his eighth Parade, having smartly prepared all year long so he would not miss this quintessential NYC holiday experience. Balloonicle Dimensions: 30-feet tall, 15-feet wide Fun Fact: The Aflac Duck’s glowing heart is encased by his heart shaped-wings. His inner tube base to “slide” down the Parade route is larger than the size of an in-ground home swimming pool.
HERITAGE BALLOON AND BALLOON
HEAD LINE-UPS
ARRTIE, THE PIRATE Arrtie the Pirate a recreation of the classic Pirate balloon of 1947 returns! Arrtie, the loveable pirate with map in hand is on a search for Holiday treasure this Thanksgiving. Balloon Dimensions: 36-feet tall Fun Fact: A staple of the Parade in the late 1940s and 1950s, Arrtie was recreated as part of the Parade’s heritage balloon program that reinvents historic Macy’s characters for a new audience.
MACY’S STARS (BLUE & WHITE, RED & GOLD, YELLOW, GOLD STARFLAKES, BELIEVE) You’ll be seeing stars at the 2018 Macy’s Thanksgiving Day Parade– literally! See if you can spot them in blue and white, red and gold, with gold star flakes, in yellow and proclaiming “Believe” at various points in the parade lineup! Balloon Dimensions: 12-feet deep, 24-feet wide, 25-feet tall Fun Fact: The Macy’s Stars are representative of the Parade’s changing color scheme from autumnal colors to the bright and cheerful colors of the holiday season.
PILGRIM MAN & WOMAN BALLOONHEADS MAMA, PAPA & BABY BALLOONHEADS The Macy’s Thanksgiving Day Parade family would not be complete without Pilgrim Man & Woman and the Mama, Papa and Baby Balloonheads! Balloon Dimensions: 12-feet tall with costume, 4-feet wide Fun Fact: The balloonheads are based on classic Parade designs from the 1940s.
AMERICANA SPHERES Rounding out the 2018 lineup are the new Americana Spheres. These patriotic balloons bring the colors of the flag to new heights. Balloon Dimensions: 14-feet wide Fun Fact: Originally conceived by legendary Macy’s Designer Manfred Bass in the 1980s
TRYCALOONS (A Macy’s Parade innovation featuring a hybrid tandem tricycle and balloon) BULLDOG Beware of dog! The Bulldog Trycaloon’s bark is as big as his bike. TOUGH GUY There’s been a jailbreak on the Parade route, and the Tough Guy Trycaloon is one inflatable character you don’t want to mess with.
NUTCRACKER Clara joins the title character of Tchaikovsky’s famous holiday ballet on a high-speed Trycaloon chase alongside the Mouse King. MOUSE KING The villainous Mouse King from Tchaikovsky’s Nutcracker ballet pedals down Manhattan accompanied by one of his furry-tailed soldiers.