The Central Park Conservatory Garden might go unnoticed compared to other locations, but it is very much worthy of a visit.
While there are plenty of locations to explore within NYC’s communal backyard, the Central Park Conservatory Garden is not one you’d want to skip. The six-acre destination is nestled between 104th to 106th Street and just reopened after a three-year, $25 million restoration.
Famous for its tulips, summer perennials, and chrysanthemums — among other flora — this scenic spot is one of the most romantic in the city and oftentimes serves as a wedding venue. Consider it a taste of Europe uptown thanks to its three main features: the English Garden, the Italianate Center Garden, and the French Garden.
Just in time for the nice weather this summer, the grounds are back up and running, waiting for New Yorkers to take a leisurely stroll and enjoy a brief respite into nature.
All about the Central Park Conservatory Garden
According to reps from Central Park, this is considered the most significant investment in the area since its original construction in 1937 — a.k.a. upgrades were long overdue. Among some of the upgrades include: restoration of the historic bluestone pavers, upgraded stormwater drainage and grading, modernized fountains and electrical systems, and installed ramps and realigned paths for universal access.
Now that the garden is in full bloom, much like NYC’s graduating seniors, the Conservancy will have pro photographers on site on June 16th and 18th from 1-4pm to take portraits of local graduates.
Betsy Smith, President and CEO of the Central Park Conservancy, said, “This special portrait project celebrates two meaningful transitions: the reopening of one of the Park’s most cherished spaces, and the next chapter for these young New Yorkers. It’s a wonderful example of our continued commitment to investing in the northern end of the Park, ensuring that future generations can gather here to celebrate life’s important milestones in a vibrant and welcoming setting.”
Although spots have filled up, definitely keep it in mind for your future graduation snaps, or if you just want a sweet nature selfie right in the middle of NYC. This is the perfect place to find it.
https://secretnyc.co/author/danielle-valente/
Showing posts with label New York travel tips. Show all posts
Showing posts with label New York travel tips. Show all posts
Sunday, June 22, 2025
Tuesday, December 31, 2024
Why Tourists Have Been Banned From Seeing Lady Liberty's Original Torch Up Close For Over A Century
The Statue of Liberty might be the most iconic symbol of New York. When you visit its little island in the New York Harbor, you can learn a lot about American history and admire the view of the New York City skyline. When you look at the enormous statue holding her torch aloft as a symbol of enlightenment, you might wonder if you can take in the views from inside of it. Unfortunately, you can't go up into the torch — but over a century ago, you could. Bizarrely, the torch is permanently closed because of the Black Tom explosion of 1916. While this historical event is not particularly widely known today, at the time, it was one of the largest sabotages in American history.
Many are surprised to learn that the torch has been closed for more than 100 years, because they seem to remember climbing up spiral stairs to the torch themselves when they were younger. However, the torch has never had stairs — just a single ladder that takes climbers up into the small space within the torch. The stairs inside the structure only take you as far as the crown, which requires a 10-story climb on one narrow spiral staircase.
The Black Tom explosion closed the torch for good
On July 30, 1916, a catastrophic explosion occurred in New York City — the worst in the city's history at the time. It wasn't an accident. Explosives were loaded into trains and detonated at the Black Tom railroad yard in what is now Liberty State Park in New Jersey, just across the water from Liberty Island where the statue stands. The force of the blast was so powerful that windows across Manhattan and Jersey City were broken. Tragically, seven people were killed. Although the United States had not yet joined World War I, this was the deliberate act of German operatives, infuriated that the United States was supporting Britain and France in their war against Germany. Much of that industry and production took place in New York and went through Black Tom.
The explosion also damaged the Statue of Liberty, blasting shrapnel at the arm and torch. At that time, the torch was closed to the public. Although restoration has since taken place, the National Park Service has never reopened the torch for tourists to explore. National Park Service employees do periodically climb up to the torch for maintenance, however.
How high can you climb the Statue of Liberty today?
You can see Lady Liberty up close from Liberty Island or from the water (for free on the Staten Island Ferry!), but if you want to see the view from as high up as possible on the statue, you'll have to visit the crown (or, if you have a little more money to spend, take a helicopter tour over New York City) instead. If you book special tickets in advance, you can climb all the way up to the Statue of Liberty's crown, where you can get a good look out at the harbor far below you. You should know, however, that there are no elevators or escalators in the statue. If you want to get there, you're going to have to climb an exhausting 162 steps to the top.
If you really want to see the torch itself up close, you can still visit the original one at the Statue of Liberty Museum. There, you can get a sense of the size of the torch and imagine what it was like for visitors over 100 years ago to look out over the harbor through its windows. And, best of all, you won't even have to climb to do so.
https://www.islands.com/author/minaelwell/
Many are surprised to learn that the torch has been closed for more than 100 years, because they seem to remember climbing up spiral stairs to the torch themselves when they were younger. However, the torch has never had stairs — just a single ladder that takes climbers up into the small space within the torch. The stairs inside the structure only take you as far as the crown, which requires a 10-story climb on one narrow spiral staircase.
The Black Tom explosion closed the torch for good
On July 30, 1916, a catastrophic explosion occurred in New York City — the worst in the city's history at the time. It wasn't an accident. Explosives were loaded into trains and detonated at the Black Tom railroad yard in what is now Liberty State Park in New Jersey, just across the water from Liberty Island where the statue stands. The force of the blast was so powerful that windows across Manhattan and Jersey City were broken. Tragically, seven people were killed. Although the United States had not yet joined World War I, this was the deliberate act of German operatives, infuriated that the United States was supporting Britain and France in their war against Germany. Much of that industry and production took place in New York and went through Black Tom.
The explosion also damaged the Statue of Liberty, blasting shrapnel at the arm and torch. At that time, the torch was closed to the public. Although restoration has since taken place, the National Park Service has never reopened the torch for tourists to explore. National Park Service employees do periodically climb up to the torch for maintenance, however.
How high can you climb the Statue of Liberty today?
You can see Lady Liberty up close from Liberty Island or from the water (for free on the Staten Island Ferry!), but if you want to see the view from as high up as possible on the statue, you'll have to visit the crown (or, if you have a little more money to spend, take a helicopter tour over New York City) instead. If you book special tickets in advance, you can climb all the way up to the Statue of Liberty's crown, where you can get a good look out at the harbor far below you. You should know, however, that there are no elevators or escalators in the statue. If you want to get there, you're going to have to climb an exhausting 162 steps to the top.
If you really want to see the torch itself up close, you can still visit the original one at the Statue of Liberty Museum. There, you can get a sense of the size of the torch and imagine what it was like for visitors over 100 years ago to look out over the harbor through its windows. And, best of all, you won't even have to climb to do so.
https://www.islands.com/author/minaelwell/
Thursday, June 6, 2024
NYC Congestion Pricing Start Date Postponed Indefinitely, Sources Say. Here's Why.
New York City's congestion pricing start date is postponed indefinitely due to concerns from Gov. Kathy Hochul, sources tell CBS New York.
The new tolls were scheduled to start on June 30 -- less than a month away.
Sources tell CBS New York the governor is concerned about how the toll will impact economic recovery in Midtown, Manhattan, as inflation remains high in the wake of the COVID-19 pandemic.
Mayor Eric Adams was asked about the delay at an unrelated event Wednesday morning.
"We have to get it right, we have to make sure that it's not an undue burden on everyday New Yorkers, we have to make sure that it's not going to impact our recovery," he said. "If she's looking at analyzing what other ways we can do it and how we do it correctly, I'm all for it. We have to get it right. This is a major shift in our city and it must be done correctly."
The governor's office did not respond to CBS New York's request for a comment. The Metropolitan Transportation Authority said it has no comment at this time and directed us to reach out to the governor's office.
It's unclear if the state Legislature will be able to come up with another source of funding for the billions of dollars the MTA hopes to receive from the tolls. There's also the question of whether federal approvals will run out, if the plan doesn't start on time.
The Riders Alliance released a statement earlier Wednesday morning, calling a delay an "outrageous betrayal of our trust."
"New York City public transit riders gave Governor Hochul her margin of victory in the 2022 election. Stopping congestion pricing before it even starts would be an outrageous betrayal of our trust," the statement read. "Congestion pricing is the only public policy that can make our subway more reliable and accessible, speed up slow bus service, and help clear the air as wildfire smoke thickens. Governor Hochul must turn it on June 30 as planned."
Hochul previously voiced her support for congestion pricing, saying it's expected to result in less air pollution, lower carbon emissions and fewer crashes. She also said the money would be "transformative" for the MTA.
NYC congestion pricing map shows the zone
Manhattan's Congestion Relief Zone starts at 60th Street and heads south to include the Lincoln, Holland and Hugh L. Carey tunnels on the Hudson River side, and the Queensboro Bridge, Queens Midtown Tunnel, Williamsburg Bridge, Manhattan Bridge and Brooklyn Bridge on the East Side.
People who live within the zone will only be charged if they leave and come back, and some roadways, like the FDR Drive and West Side Highway, will be excluded, as long as vehicles stay off the city street grid.
The MTA was scheduled to hold a series of congestion pricing webinars starting Wednesday morning, but it appears those have been postponed, as well.
So now when does congestion pricing start?
Congestion pricing was supposed to start at 12:00 a.m. on Sunday, June 30.
New York City would be the first in the nation to implement such a toll. It's now unclear when it will take effect.
June 30 also happens to be the annual Pride March in Manhattan and leads into the Fourth of July holiday week.
How will congestion pricing work in NYC?
Under the plan, drivers will be charged to enter Manhattan at or below 60th Street. Fees will be highest during peak hours, which are 5 a.m. to 9 p.m. on weekdays and 9 a.m. to 9 p.m. on weekends.
For drivers using E-ZPass, passenger and small commercial vehicles will pay $15 during peak hours, motorcycles will pay $7.50, and trucks and buses will pay $24 or $36 depending on size.
Some discounts and exemptions will be available, including the Individual Disability Exemption Plan for those who are unable to use mass transit due to medical conditions.
Officials say the goal of congestion pricing is to reduce traffic and improve air quality in Manhattan. The money raised from the plan will be used for mass transit projects and upgrades.
However, the plan has faced significant pushback, including multiple lawsuits in New Jersey and New York.
https://www.cbsnews.com/team/katie-houlis/
The new tolls were scheduled to start on June 30 -- less than a month away.
Sources tell CBS New York the governor is concerned about how the toll will impact economic recovery in Midtown, Manhattan, as inflation remains high in the wake of the COVID-19 pandemic.
Mayor Eric Adams was asked about the delay at an unrelated event Wednesday morning.
"We have to get it right, we have to make sure that it's not an undue burden on everyday New Yorkers, we have to make sure that it's not going to impact our recovery," he said. "If she's looking at analyzing what other ways we can do it and how we do it correctly, I'm all for it. We have to get it right. This is a major shift in our city and it must be done correctly."
The governor's office did not respond to CBS New York's request for a comment. The Metropolitan Transportation Authority said it has no comment at this time and directed us to reach out to the governor's office.
It's unclear if the state Legislature will be able to come up with another source of funding for the billions of dollars the MTA hopes to receive from the tolls. There's also the question of whether federal approvals will run out, if the plan doesn't start on time.
The Riders Alliance released a statement earlier Wednesday morning, calling a delay an "outrageous betrayal of our trust."
"New York City public transit riders gave Governor Hochul her margin of victory in the 2022 election. Stopping congestion pricing before it even starts would be an outrageous betrayal of our trust," the statement read. "Congestion pricing is the only public policy that can make our subway more reliable and accessible, speed up slow bus service, and help clear the air as wildfire smoke thickens. Governor Hochul must turn it on June 30 as planned."
Hochul previously voiced her support for congestion pricing, saying it's expected to result in less air pollution, lower carbon emissions and fewer crashes. She also said the money would be "transformative" for the MTA.
NYC congestion pricing map shows the zone
Manhattan's Congestion Relief Zone starts at 60th Street and heads south to include the Lincoln, Holland and Hugh L. Carey tunnels on the Hudson River side, and the Queensboro Bridge, Queens Midtown Tunnel, Williamsburg Bridge, Manhattan Bridge and Brooklyn Bridge on the East Side.
People who live within the zone will only be charged if they leave and come back, and some roadways, like the FDR Drive and West Side Highway, will be excluded, as long as vehicles stay off the city street grid.
The MTA was scheduled to hold a series of congestion pricing webinars starting Wednesday morning, but it appears those have been postponed, as well.
So now when does congestion pricing start?
Congestion pricing was supposed to start at 12:00 a.m. on Sunday, June 30.
New York City would be the first in the nation to implement such a toll. It's now unclear when it will take effect.
June 30 also happens to be the annual Pride March in Manhattan and leads into the Fourth of July holiday week.
How will congestion pricing work in NYC?
Under the plan, drivers will be charged to enter Manhattan at or below 60th Street. Fees will be highest during peak hours, which are 5 a.m. to 9 p.m. on weekdays and 9 a.m. to 9 p.m. on weekends.
For drivers using E-ZPass, passenger and small commercial vehicles will pay $15 during peak hours, motorcycles will pay $7.50, and trucks and buses will pay $24 or $36 depending on size.
Some discounts and exemptions will be available, including the Individual Disability Exemption Plan for those who are unable to use mass transit due to medical conditions.
Officials say the goal of congestion pricing is to reduce traffic and improve air quality in Manhattan. The money raised from the plan will be used for mass transit projects and upgrades.
However, the plan has faced significant pushback, including multiple lawsuits in New Jersey and New York.
https://www.cbsnews.com/team/katie-houlis/
Saturday, March 30, 2024
Transportation Authority Approves New York's Congestion Pricing Plan
The Metropolitan Transportation Authority board voted on Wednesday to approve the toll rates for Manhattan's congestion pricing program, the first of its kind in the United States.
Under the plan, New York City will charge a daily toll of $15 during the day for passenger vehicles driving in Manhattan south of 60th Street starting in mid-June. It will charge up to $36 for larger trucks and buses. The plan still faces a number of legal challenges including from the state of New Jersey.
"This program will reduce traffic in Manhattan's central business district, reduce pollution, and provide critical funding for transit improvements," the MTA said.
New York says more than 900,000 vehicles enter the Manhattan Central Business District daily, reducing travel speeds to around 7 miles an hour (11 kph) on average.
New York City, which has the most congested traffic of any U.S. city, is set to follow London, which implemented a similar charge in 2003.
New York said the charge would cut traffic by 17% and improve air quality and increase transit use by 1% to 2%, as well as generate $1 billion to $1.5 billion a year and support $15 billion in debt financing for mass transit improvement.
Passenger vehicle drivers who enter at night will pay $3.75 and motorcycle riders will pay up to $7.50 to enter the area, the MTA said. Drivers will only be charged once per day.
Taxi users will pay a $1.25 surcharge, while Uber opens new tab and Lyft opens new tab users will pay $2.50 per trip in the congestion zone. Those fees are in addition to New York's $2.50 congestion charge for taxis and $2.75 for for-hire vehicles in place since 2019.
Vehicle owners whose adjusted gross annual income is no more than $50,000 or received low-income benefit may qualify for 50% discounts for some trips or for New York state tax credits under the plan.
https://www.reuters.com/authors/david-shepardson/
"This program will reduce traffic in Manhattan's central business district, reduce pollution, and provide critical funding for transit improvements," the MTA said.
New York says more than 900,000 vehicles enter the Manhattan Central Business District daily, reducing travel speeds to around 7 miles an hour (11 kph) on average.
New York City, which has the most congested traffic of any U.S. city, is set to follow London, which implemented a similar charge in 2003.
New York said the charge would cut traffic by 17% and improve air quality and increase transit use by 1% to 2%, as well as generate $1 billion to $1.5 billion a year and support $15 billion in debt financing for mass transit improvement.
Passenger vehicle drivers who enter at night will pay $3.75 and motorcycle riders will pay up to $7.50 to enter the area, the MTA said. Drivers will only be charged once per day.
Taxi users will pay a $1.25 surcharge, while Uber opens new tab and Lyft opens new tab users will pay $2.50 per trip in the congestion zone. Those fees are in addition to New York's $2.50 congestion charge for taxis and $2.75 for for-hire vehicles in place since 2019.
Vehicle owners whose adjusted gross annual income is no more than $50,000 or received low-income benefit may qualify for 50% discounts for some trips or for New York state tax credits under the plan.
https://www.reuters.com/authors/david-shepardson/
Tuesday, September 12, 2023
The American Museum Of Natural History Announces The Secret World Of Elephants, Opens To The Public On November 13
New exhibition explores the 60-million-year evolution of the elephant family,
their astounding minds and bodies, interactions with humans and the environment, and what we can do to ensure their survival in the world
How do elephants “hear” with their feet, use the 40,000 muscles in their trunks, or reshape the forests and savannas they live in, creating an environment upon which many other species rely? The Secret World of Elephants, a special exhibition opening at the American Museum of Natural History this fall, reveals new science about both modern and ancient elephants—including the titans of the Ice Age, mammoths and mastodons—and highlights elephants’ extraordinary minds and senses, why they're essential to the health of their ecosystems, and inspiring efforts to overcome threats to their survival.
“Elephants are not only majestic and incredible animals, they are pillars of their ecosystems, playing a vital role in the intricate tapestry of life on our planet,” said Museum President Sean M. Decatur. “We hope this exhibition reminds visitors of our shared responsibility to protect and preserve Earth’s magnificent diversity.”
According to fossil evidence, the larger group to which proboscideans (elephants and their close relatives) belong arose not long after the extinction of non-avian dinosaurs, about 60 million years ago. Since then, more than 200 species of proboscideans evolved, living on every continent except for Antarctica and Australia. During the Ice Ages, between 1.8 million and 11,700 years ago, more than 50 different elephant relatives still roamed the globe—including mammoths and mastodons—but by the end of that period, extinctions had wiped out most giant mammals across the world. In The Secret World of Elephants, visitors will be introduced to the greater elephant family tree, from the iconic woolly mammoth to the dwarf elephant Palaeoloxodon falconeri, which lived in what is now Sicily and was only about 4 feet tall at its shoulders, as well as to the three modern elephant species that share our planet today and the new science that is revealing more about their amazing anatomy and complex behavior.
Several life-size models, as well as fossils and casts, will illustrate elephants’ size, and videos and interactive exhibits will introduce visitors to these massive mammals’ incredible abilities. Elephants’ trunks, for example, are strong enough to pull down a tree, yet nimble enough to pluck a single blade of grass. They form close social bonds, recognizing each others’ voices, and are known to care for ill individuals and to visit the spot where a family member died. They are ingenious problem-solvers and, by eating, bulldozing, and trampling plants, digging water holes, and transporting seeds, they act as ecosystem engineers and affect hundreds of other species. Over the centuries that humans and elephants have lived together, often uneasily, elephants have been trained for war and work—and have come to represent powerful religious and political symbols across cultures.
Highlights of the exhibition include:
a full-scale model of a woolly mammoth, depicted in the process of shedding its winter coat an interactive exhibit that demonstrates how elephants use extremely low sound waves—called infrasound—to send messages through the ground and to other elephants’ feet, which conduct vibrations up their legs and to their brains
a life-size African elephant model with a projection on one side of its body showing the skeleton of this massive mammal and providing an inside look at how it processes the huge amount of food it eats—between 300-500 pounds per day—and at elephant gestation, which can last for nearly two years, longer than any other living mammal a life-size model of the extinct dwarf elephant with a dwarf elephant calf
touchable teeth of an elephant, a mammoth, and a gomphothere (a distant elephant relative that became extinct around the end of the Ice Age and was the only proboscidean to reach South America) an interactive exhibit about elephant vocalization, which lets visitors listen to different elephant calls, each with its own meaning conservation-themed interactive exhibits that examine the impact of killing elephants for ivory, how climate change is affecting elephants, and ways that humans and elephants can share the planet and reduce human and elephant conflict
The Secret World of Elephants will open to the public on Monday, November 13, 2023. Museum Members will be able to preview the exhibition starting on Friday, November 10, through Sunday, November 12.
The exhibition is curated by Ross MacPhee, curator emeritus in the Museum’s Department of Mammalogy, with consultation by Raman Sukumar, honorary professor at the Centre for Ecological Sciences, Indian Institute of Science; and Alexandra van der Geer, a researcher at the University of Leiden, Netherlands.
To learn more and plan your visit, please go to: https://www.amnh.org/exhibitions/secret-world-elephants
How do elephants “hear” with their feet, use the 40,000 muscles in their trunks, or reshape the forests and savannas they live in, creating an environment upon which many other species rely? The Secret World of Elephants, a special exhibition opening at the American Museum of Natural History this fall, reveals new science about both modern and ancient elephants—including the titans of the Ice Age, mammoths and mastodons—and highlights elephants’ extraordinary minds and senses, why they're essential to the health of their ecosystems, and inspiring efforts to overcome threats to their survival.
“Elephants are not only majestic and incredible animals, they are pillars of their ecosystems, playing a vital role in the intricate tapestry of life on our planet,” said Museum President Sean M. Decatur. “We hope this exhibition reminds visitors of our shared responsibility to protect and preserve Earth’s magnificent diversity.”
According to fossil evidence, the larger group to which proboscideans (elephants and their close relatives) belong arose not long after the extinction of non-avian dinosaurs, about 60 million years ago. Since then, more than 200 species of proboscideans evolved, living on every continent except for Antarctica and Australia. During the Ice Ages, between 1.8 million and 11,700 years ago, more than 50 different elephant relatives still roamed the globe—including mammoths and mastodons—but by the end of that period, extinctions had wiped out most giant mammals across the world. In The Secret World of Elephants, visitors will be introduced to the greater elephant family tree, from the iconic woolly mammoth to the dwarf elephant Palaeoloxodon falconeri, which lived in what is now Sicily and was only about 4 feet tall at its shoulders, as well as to the three modern elephant species that share our planet today and the new science that is revealing more about their amazing anatomy and complex behavior.
Several life-size models, as well as fossils and casts, will illustrate elephants’ size, and videos and interactive exhibits will introduce visitors to these massive mammals’ incredible abilities. Elephants’ trunks, for example, are strong enough to pull down a tree, yet nimble enough to pluck a single blade of grass. They form close social bonds, recognizing each others’ voices, and are known to care for ill individuals and to visit the spot where a family member died. They are ingenious problem-solvers and, by eating, bulldozing, and trampling plants, digging water holes, and transporting seeds, they act as ecosystem engineers and affect hundreds of other species. Over the centuries that humans and elephants have lived together, often uneasily, elephants have been trained for war and work—and have come to represent powerful religious and political symbols across cultures.
Highlights of the exhibition include:
a full-scale model of a woolly mammoth, depicted in the process of shedding its winter coat an interactive exhibit that demonstrates how elephants use extremely low sound waves—called infrasound—to send messages through the ground and to other elephants’ feet, which conduct vibrations up their legs and to their brains
a life-size African elephant model with a projection on one side of its body showing the skeleton of this massive mammal and providing an inside look at how it processes the huge amount of food it eats—between 300-500 pounds per day—and at elephant gestation, which can last for nearly two years, longer than any other living mammal a life-size model of the extinct dwarf elephant with a dwarf elephant calf
touchable teeth of an elephant, a mammoth, and a gomphothere (a distant elephant relative that became extinct around the end of the Ice Age and was the only proboscidean to reach South America) an interactive exhibit about elephant vocalization, which lets visitors listen to different elephant calls, each with its own meaning conservation-themed interactive exhibits that examine the impact of killing elephants for ivory, how climate change is affecting elephants, and ways that humans and elephants can share the planet and reduce human and elephant conflict
The Secret World of Elephants will open to the public on Monday, November 13, 2023. Museum Members will be able to preview the exhibition starting on Friday, November 10, through Sunday, November 12.
The exhibition is curated by Ross MacPhee, curator emeritus in the Museum’s Department of Mammalogy, with consultation by Raman Sukumar, honorary professor at the Centre for Ecological Sciences, Indian Institute of Science; and Alexandra van der Geer, a researcher at the University of Leiden, Netherlands.
To learn more and plan your visit, please go to: https://www.amnh.org/exhibitions/secret-world-elephants
Thursday, August 3, 2023
The Museum Of Broadway Opens New Special Exhibit Celebrating Chicago
The Museum of Broadway recently opened a new special exhibit dedicated to Broadway's longest currently running American musical CHICAGO. ALL THAT JAZZ: The Legacy of CHICAGO the Musical, created exclusively for The Museum of Broadway, is a retrospective of CHICAGO's 26 years on Broadway with a special focus on the iconic production photography and ad campaigns throughout the years. Guests can get a closer look at artifacts, stunning costumes worn by some of CHICAGO's starry cast members, and even feel like they're a part of the show in an exclusive photo activation. ALL THAT JAZZ: The Legacy of CHICAGO the Musical will be open until September 10, 2023.
Admission to this brand-new special exhibit is included with any ticket to The Museum of Broadway, which can be purchased at https://www.themuseumofbroadway.com/tickets.
The Museum of Broadway, which opened to the public this past November, is located in the heart of New York City's Times Square at 145 W. 45th St. and is the first-ever permanent museum dedicated to the storied history and legendary artistry of Broadway musicals, plays, and the people who make them.
As part of this immersive and interactive theatrical experience guests travel through a visual history of Broadway, highlighting groundbreaking moments in a series of exhibits that showcase – and show off – dazzling costumes, props, renderings, rare photos, videos, and more. Along the way, guests learn more about the pivotal shows that transformed the landscape of Broadway and the moments that pushed creative boundaries, challenged social norms, and paved the way for those who would follow. Overall, the museum highlights more than 500 productions from the 1700s-present. Some of the exhibits included throughout the timeline showcase props and artifacts from the Broadway productions of The Phantom of the Opera, West Side Story, Rent, Company, Cabaret, and many more.
The museum also features "The Making of a Broadway Show" exhibit, designed by David Rockwell, which honors the community of brilliantly talented professionals – both onstage and off – who bring Broadway plays and musicals to life every night.
CHICAGO is the longest-running show currently playing on Broadway, having played over 10,000 performances since its opening in 1996. CHICAGO has played in 38 countries in more than 525 cities and has been performed in thirteen different languages worldwide.
Tickets can be purchased at https://www.themuseumofbroadway.com/tickets. These timed tickets start at $34, with a portion of every ticket sold donated to Broadway Cares/Equity Fights AIDS. Student and senior rates are available, as well as special $25 timed tickets on the first Tuesday of every month. Group and special event pricing available upon request.
The museum is a self-guided experience with virtual visitor guides available through the Museum of Broadway's app in English, Spanish, Chinese (Simplified), German, French, Japanese, Korean, and Portuguese.
Visit https://www.themuseumofbroadway.com and follow @museumofbroadway on social for more.
Admission to this brand-new special exhibit is included with any ticket to The Museum of Broadway, which can be purchased at https://www.themuseumofbroadway.com/tickets.
The Museum of Broadway, which opened to the public this past November, is located in the heart of New York City's Times Square at 145 W. 45th St. and is the first-ever permanent museum dedicated to the storied history and legendary artistry of Broadway musicals, plays, and the people who make them.
As part of this immersive and interactive theatrical experience guests travel through a visual history of Broadway, highlighting groundbreaking moments in a series of exhibits that showcase – and show off – dazzling costumes, props, renderings, rare photos, videos, and more. Along the way, guests learn more about the pivotal shows that transformed the landscape of Broadway and the moments that pushed creative boundaries, challenged social norms, and paved the way for those who would follow. Overall, the museum highlights more than 500 productions from the 1700s-present. Some of the exhibits included throughout the timeline showcase props and artifacts from the Broadway productions of The Phantom of the Opera, West Side Story, Rent, Company, Cabaret, and many more.
The museum also features "The Making of a Broadway Show" exhibit, designed by David Rockwell, which honors the community of brilliantly talented professionals – both onstage and off – who bring Broadway plays and musicals to life every night.
CHICAGO is the longest-running show currently playing on Broadway, having played over 10,000 performances since its opening in 1996. CHICAGO has played in 38 countries in more than 525 cities and has been performed in thirteen different languages worldwide.
Tickets can be purchased at https://www.themuseumofbroadway.com/tickets. These timed tickets start at $34, with a portion of every ticket sold donated to Broadway Cares/Equity Fights AIDS. Student and senior rates are available, as well as special $25 timed tickets on the first Tuesday of every month. Group and special event pricing available upon request.
The museum is a self-guided experience with virtual visitor guides available through the Museum of Broadway's app in English, Spanish, Chinese (Simplified), German, French, Japanese, Korean, and Portuguese.
Visit https://www.themuseumofbroadway.com and follow @museumofbroadway on social for more.
Saturday, January 28, 2023
Light At The End Of The Tunnel: Grand Central Annex Opens
For decades, work on a massive rail project has been grinding 15 stories below the shuffling footsteps of millions of New Yorkers and beneath the East Hudson River and Manhattan skyscrapers.
After years of delays and massive cost overruns, the enormously expensive railway project shuttled its first passengers Wednesday from Long Island to a new annex in New York City’s iconic Grand Central Terminal.
The new transit center, built inside a massive man-made cavern and served by rail tunnels carved through bedrock, is being heralded as an important addition to the nation’s busiest railway network.
“We got the job done,” Gov. Kathy Hochul said, the ninth governor to oversee the project that had its genesis six decades ago. “There were so many roadblocks and challenges and detours along the way.”
The new 700,000-square-foot (65,032-square-meter) terminal, dubbed Grand Central Madison, was conceived and constructed at a time when New York City’s transportation system was bursting with passengers. It opens in a different era, with ridership still significantly down from where it was before the COVID-19 pandemic ushered in a new era of remote work.
The new terminal, adorned with colorful mosaics and replete with storefronts and restaurants — most still empty — is the country’s largest new railway station in nearly seven decades and the most significant expansion over the last century of the Long Island Rail Road, the busiest commuter railroad in North America. The two-level concourse supports four platforms and eight tracks.
Much of the construction of the terminal has been complete for months, though some finishing touches won’t be complete for another few weeks, officials acknowledged.
The station was to have opened by the end of 2022 but was delayed slightly by issues with heating, ventilation and air conditioning. For Long Island commuters headed for Manhattan, the terminal’s key benefit is the ability to take a train directly to the East Side, where previously the only option was to go to Pennsylvania Station on the West Side, then travel back by subway or bus.
“I’ve been waiting for 30 years,” said John Cannon, a Long Island man who was on the inaugural 21-minute ride from Jamaica, Queens, to Manhattan. “I don’t have to take the subways anymore.”
Passenger Alexander Rodriguez, a 15-year-old Queens resident, described the inaugural ride as “nice and smooth.”
“And it was fun,” he said. “It was the first train. It’s a once in a lifetime thing.”
Many of the subterranean tunnels that carry rail passengers below the Hudson River are more than a century old, some of which are in need of deeper maintenance. The new tunnels built for the project will also allow Amtrak to temporarily divert its trains to the new tunnels so it can begin refurbishing aging eastside tunnels and tracks.
For decades, the project kept chugging along, even amid concerns about ballooning costs. Construction began in the 1960s, but was abandoned for a time because of a series of economic crises.
Spending on the massive construction project has grown to more than $11 billion — more than triple the initial estimate of $3.5 billion two decades ago. The project bore through 2 miles (3.2 kilometers) of bedrock; per mile, it would be one of the world’s most expensive rail projects ever completed.
“It’s a useful project. But for $11 billion, it would be better not to have built it,” said Alon Levy, a transportation fellow at New York University’s Marron Institute, who has been compiling railway cost data from around the world.
The money, he argues, could have been used for other transportation projects, including improving capacity for existing railway lines.
Officials have acknowledged that engineering costs and the high price of New York City labor contributed to spiraling expenses.
“This is not a small project. This is one of the greatest engineering feats. And it’s a tribute to the MTA that they were able to overcome what I would say was some delays of bureaucracy, delays of engineering,” said Mitchell Moss, a professor of urban policy and planning at New York University.
Despite the setbacks, Tom Wright, the president of the Regional Plan Association, hailed Wednesday’s opening as a “driver of economic growth and prosperity,” even as the region “still faces urgent transportation, housing and resiliency challenges.”
“Because this region has an interconnected network of transit, when you make an improvement, the beneficiaries are actually systemwide,” said Wright, whose nonprofit develops and advocates for ways to improve the regional economy, environment and quality of life.
Over the past week, the Long Island Rail Road carried about 1 million riders, or about two-thirds the number it transported for roughly the same week in 2019, according to statistics compiled by the Metropolitan Transportation Authority.
When full service begins to Grand Central Madison, the LIRR will add another 269 trains per weekday on top of the roughly 660 trains already in operation, officials said. About 160,000 passengers are expected to hop on and off platforms at the new terminal.
Coupled with expanded service to Penn Station, the link to Grand Central would allow rail stops to open along long-neglected parts of the city, including the Bronx, spur new housing developments and serve as an economic engine.
“It obviously makes the businesses in Midtown East a more attractive destination for commuters from Long Island,” said Kathryn Wylde, the president of the Partnership for New York City.
By BOBBY CAINA CALVAN
After years of delays and massive cost overruns, the enormously expensive railway project shuttled its first passengers Wednesday from Long Island to a new annex in New York City’s iconic Grand Central Terminal.
The new transit center, built inside a massive man-made cavern and served by rail tunnels carved through bedrock, is being heralded as an important addition to the nation’s busiest railway network.
“We got the job done,” Gov. Kathy Hochul said, the ninth governor to oversee the project that had its genesis six decades ago. “There were so many roadblocks and challenges and detours along the way.”
The new 700,000-square-foot (65,032-square-meter) terminal, dubbed Grand Central Madison, was conceived and constructed at a time when New York City’s transportation system was bursting with passengers. It opens in a different era, with ridership still significantly down from where it was before the COVID-19 pandemic ushered in a new era of remote work.
The new terminal, adorned with colorful mosaics and replete with storefronts and restaurants — most still empty — is the country’s largest new railway station in nearly seven decades and the most significant expansion over the last century of the Long Island Rail Road, the busiest commuter railroad in North America. The two-level concourse supports four platforms and eight tracks.
Much of the construction of the terminal has been complete for months, though some finishing touches won’t be complete for another few weeks, officials acknowledged.
The station was to have opened by the end of 2022 but was delayed slightly by issues with heating, ventilation and air conditioning. For Long Island commuters headed for Manhattan, the terminal’s key benefit is the ability to take a train directly to the East Side, where previously the only option was to go to Pennsylvania Station on the West Side, then travel back by subway or bus.
“I’ve been waiting for 30 years,” said John Cannon, a Long Island man who was on the inaugural 21-minute ride from Jamaica, Queens, to Manhattan. “I don’t have to take the subways anymore.”
Passenger Alexander Rodriguez, a 15-year-old Queens resident, described the inaugural ride as “nice and smooth.”
“And it was fun,” he said. “It was the first train. It’s a once in a lifetime thing.”
Many of the subterranean tunnels that carry rail passengers below the Hudson River are more than a century old, some of which are in need of deeper maintenance. The new tunnels built for the project will also allow Amtrak to temporarily divert its trains to the new tunnels so it can begin refurbishing aging eastside tunnels and tracks.
For decades, the project kept chugging along, even amid concerns about ballooning costs. Construction began in the 1960s, but was abandoned for a time because of a series of economic crises.
Spending on the massive construction project has grown to more than $11 billion — more than triple the initial estimate of $3.5 billion two decades ago. The project bore through 2 miles (3.2 kilometers) of bedrock; per mile, it would be one of the world’s most expensive rail projects ever completed.
“It’s a useful project. But for $11 billion, it would be better not to have built it,” said Alon Levy, a transportation fellow at New York University’s Marron Institute, who has been compiling railway cost data from around the world.
The money, he argues, could have been used for other transportation projects, including improving capacity for existing railway lines.
Officials have acknowledged that engineering costs and the high price of New York City labor contributed to spiraling expenses.
“This is not a small project. This is one of the greatest engineering feats. And it’s a tribute to the MTA that they were able to overcome what I would say was some delays of bureaucracy, delays of engineering,” said Mitchell Moss, a professor of urban policy and planning at New York University.
Despite the setbacks, Tom Wright, the president of the Regional Plan Association, hailed Wednesday’s opening as a “driver of economic growth and prosperity,” even as the region “still faces urgent transportation, housing and resiliency challenges.”
“Because this region has an interconnected network of transit, when you make an improvement, the beneficiaries are actually systemwide,” said Wright, whose nonprofit develops and advocates for ways to improve the regional economy, environment and quality of life.
Over the past week, the Long Island Rail Road carried about 1 million riders, or about two-thirds the number it transported for roughly the same week in 2019, according to statistics compiled by the Metropolitan Transportation Authority.
When full service begins to Grand Central Madison, the LIRR will add another 269 trains per weekday on top of the roughly 660 trains already in operation, officials said. About 160,000 passengers are expected to hop on and off platforms at the new terminal.
Coupled with expanded service to Penn Station, the link to Grand Central would allow rail stops to open along long-neglected parts of the city, including the Bronx, spur new housing developments and serve as an economic engine.
“It obviously makes the businesses in Midtown East a more attractive destination for commuters from Long Island,” said Kathryn Wylde, the president of the Partnership for New York City.
By BOBBY CAINA CALVAN
Monday, November 1, 2021
Macy’s Thanksgiving Day Parade To Snap Back, Add Baby Yoda
NEW YORK (AP) — The Macy’s Thanksgiving Day Parade will return to its pre-pandemic form this year, with its route restored through Manhattan, high-flying helium balloons once again pulled by handlers and crowds welcomed back to cheer them on. And Baby Yoda is joining the party for the first time.
This year’s parade — the 95th annual — will snap back to form after bowing to pandemic restrictions last year. It will feature 15 giant character balloons, 28 floats, 36 novelty and heritage inflatables, more than 800 clowns, 10 marching bands and nine performance groups and, of course, Santa Claus.
New balloon giants joining the line-up on Nov. 25 include Ada Twist, Scientist; Grogu (so-called Baby Yoda from the “The Mandalorian”); and the Pokémon characters Pikachu and Eevee. Broadway will be represented by the casts of “Six,” “Moulin Rouge! The Musical” and “Wicked.” The Rockettes will be there, as will the cast of the upcoming NBC live production of “Annie.”
“For our 95th celebration, Macy’s has created a spectacle to remember featuring a dazzling array of high-flying balloons, animated floats and incredible performers. We can’t wait to help New York City and the nation kick-off the holiday season with the return of this cherished tradition,” Will Coss, executive producer of the parade, said in a statement.
There will be new floats led by the cast of “Girls5eva” — Sara Bareilles, Renée Elise Goldsberry, Paula Pell and Busy Philipps — Nelly and Jordan Fisher, while Jon Batiste will be on an alligator-themed float celebrating Louisiana’s music, food and culture.
Other celebrities on hand include Carrie Underwood, Jimmie Allen, Kelly Rowland, Rob Thomas, Kristin Chenoweth, Darren Criss, Foreigner, Andy Grammer, Mickey Guyton, Chris Lane, Miss America Camille Schrier, Muppets from “Sesame Street” and the three past and current hosts of “Blue’s Clues” — Steve Burns, Donovan Patton and Josh Dela Cruz.
Some of the returning balloons will be Astronaut Snoopy, ’The Boss Baby,” “Diary of a Wimpy Kid,” Chase from “Paw Patrol,” the Pillsbury Doughboy, Red Titan from “Ryan’s World,” Papa Smurf from ”The Smurfs,” Sonic the Hedgehog and SpongeBob SquarePants.
The Macy’s parade has been a traditional holiday season kickoff and spectators often line up a half-dozen deep along the route to cheer about 8,000 marchers, two dozen floats, entertainers and marching bands.
Last year, the usual 2 1/2-mile route through crowded Manhattan was scrapped in favor of concentrating events to a one-block stretch of 34th Street in front of the retailer’s flagship Manhattan store. Many performances were pre-taped and most of the parade’s performers were locally based to cut down on travel. The balloons were tethered to specialized vehicles instead of being controlled by handlers.
Visitors this year will once again be allowed to see the balloons inflated the day before the parade as long as they show proof of vaccination. Children under the age of 12 may be accompanied by a vaccinated adult.
This year’s parade — the 95th annual — will snap back to form after bowing to pandemic restrictions last year. It will feature 15 giant character balloons, 28 floats, 36 novelty and heritage inflatables, more than 800 clowns, 10 marching bands and nine performance groups and, of course, Santa Claus.
New balloon giants joining the line-up on Nov. 25 include Ada Twist, Scientist; Grogu (so-called Baby Yoda from the “The Mandalorian”); and the Pokémon characters Pikachu and Eevee. Broadway will be represented by the casts of “Six,” “Moulin Rouge! The Musical” and “Wicked.” The Rockettes will be there, as will the cast of the upcoming NBC live production of “Annie.”
“For our 95th celebration, Macy’s has created a spectacle to remember featuring a dazzling array of high-flying balloons, animated floats and incredible performers. We can’t wait to help New York City and the nation kick-off the holiday season with the return of this cherished tradition,” Will Coss, executive producer of the parade, said in a statement.
There will be new floats led by the cast of “Girls5eva” — Sara Bareilles, Renée Elise Goldsberry, Paula Pell and Busy Philipps — Nelly and Jordan Fisher, while Jon Batiste will be on an alligator-themed float celebrating Louisiana’s music, food and culture.
Other celebrities on hand include Carrie Underwood, Jimmie Allen, Kelly Rowland, Rob Thomas, Kristin Chenoweth, Darren Criss, Foreigner, Andy Grammer, Mickey Guyton, Chris Lane, Miss America Camille Schrier, Muppets from “Sesame Street” and the three past and current hosts of “Blue’s Clues” — Steve Burns, Donovan Patton and Josh Dela Cruz.
Some of the returning balloons will be Astronaut Snoopy, ’The Boss Baby,” “Diary of a Wimpy Kid,” Chase from “Paw Patrol,” the Pillsbury Doughboy, Red Titan from “Ryan’s World,” Papa Smurf from ”The Smurfs,” Sonic the Hedgehog and SpongeBob SquarePants.
The Macy’s parade has been a traditional holiday season kickoff and spectators often line up a half-dozen deep along the route to cheer about 8,000 marchers, two dozen floats, entertainers and marching bands.
Last year, the usual 2 1/2-mile route through crowded Manhattan was scrapped in favor of concentrating events to a one-block stretch of 34th Street in front of the retailer’s flagship Manhattan store. Many performances were pre-taped and most of the parade’s performers were locally based to cut down on travel. The balloons were tethered to specialized vehicles instead of being controlled by handlers.
Visitors this year will once again be allowed to see the balloons inflated the day before the parade as long as they show proof of vaccination. Children under the age of 12 may be accompanied by a vaccinated adult.
Tuesday, September 21, 2021
Sharks, A New American Museum of Natural History Exhibition, Opens December 15
Featuring Dozens of Life-Sized Models Ranging from 33 Feet to 5 Inches Long,
New Exhibition Brings Visitors Face to Face with Vast Diversity of Shark Species,
From the Ancient Megapredator Megalodon to the Tiny Pocket Shark
Opens to Museum Members on December 10 and to the Public on December 15
People have been fascinated by sharks for as long as we have been exploring the oceans. Fixed in the public imagination as toothy, fearsome predators, sharks are far more fascinating and more complex, than their description in popular culture. Sharks, a new exhibition opening at the American Museum of Natural History this winter, will bring to life the incredible diversity of this ancient group of fishes and will offer visitors a unique look at pre-historic and modern shark species, their habitats and hunting styles, and the conservation threats these magnificent animals are facing today.
The evolutionary history of sharks began nearly 450 million years ago, more than 200 million years before the first dinosaur. Today, there are more than 500 species of sharks and more than 650 species of their close relatives—rays, skates, and chimaeras—inhabiting nearly all of the world’s aquatic environments, from coral reefs to the polar seas, and even freshwater rivers. While the terrifying monster from the movie Jaws is what many might imagine when they think of sharks, today’s scientists are uncovering many surprising facts about this diverse group. Convinced that all sharks are carnivores? (Fact: Recent research shows that bonnethead sharks eat seagrass and can digest plants). Where do great white sharks give birth to their young? (Fact: By tracking females, scientists recently discovered a great white shark nursery off the coast of Long Island, New York). Can shark tourism be more profitable than shark fishing? (Fact: where fishing and ecotourism are regulated, tourism can support shark communities for generations. In fact, a single whale shark has been shown to bring thousands of more dollars as a beacon for tourism than could be earned by killing it). Sharks addresses these exciting questions and reveals more secrets of the ocean’s top predators through life-sized models, touch-free interactives, real fossils, and dynamic media presentations.
Visitors to Sharks will explore the diversity, anatomy, and behavior of sharks and their close relatives through encounters with tiger sharks, great whites, and other familiar favorites along with little-known creatures such as the torpedo ray, the longnose chimaera, and the tiny dwarf lantern shark, which glows in the dark and is small enough to hold in your hand. The exhibition will showcase fossils from the Museum’s extensive collections, current Museum research, and a spectacular “parade” of sharks highlighting the diversity of ancient and modern shark species through 30 lifelike models that range from 33 feet to 5 inches long, including the prehistoric megapredator megalodon, the “Tyrannosaurus rex of the seas,” which was so large it preyed on whales. Other exhibition highlights include an interactive that challenges visitors to hunt like a hammerhead and touch-free media that reveals distinctive shark traits with the wave of a hand. Sharks also delves into the serious conservation issues facing sharks today, including overfishing and habitat destruction, demonstrating that while these amazing animals pose few threats to people, we represent a serious danger to them.
Sharks is curated by John Sparks, curator in the Museum’s Department of Ichthyology in the Division of Vertebrate Zoology, who previously curated Unseen Oceans, which explored the latest ocean science, and Creatures of Light: Nature’s Bioluminescence, which focused on the diversity of organisms that produce light. He also co-curated Life at the Limits: Stories of Amazing Species, about organisms with surprising abilities and those that thrive in extreme habitats. Sparks’ recent research explores the role that bioluminescence and biofluorescence play in the diversification of both shallow-reef and deep-sea fishes. His current projects include investigating the evolution and function of bioluminescent signaling systems in ponyfishes (Leiognathidae), lanternfishes (Myctophiformes), and dragonfishes (Stomiiformes), the origins of Madagascar’s freshwater and nearshore marine fishes, and the evolution and function of biofluorescence in marine fishes. Sharks has also drawn on the expertise of John Maisey, curator-in-charge emeritus, fossil fish, Division of Paleontology, whose research focuses on early chondrichthyans and shark evolution.
American Museum of Natural History (amnh.org) The American Museum of Natural History, founded in 1869, is one of the world’s preeminent scientific, educational, and cultural institutions. The Museum encompasses more than 40 permanent exhibition halls, including those in the Rose Center for Earth and Space, and the Hayden Planetarium, as well as galleries for temporary exhibitions. The Museum’s scientists draw on a world-class permanent collection of more than 34 million specimens and artifacts, some of which are billions of years old, and on one of the largest natural history libraries in the world. Through its Richard Gilder Graduate School, the Museum grants the Ph.D. degree in Comparative Biology and the Master of Arts in Teaching (MAT) degree, the only such freestanding, degree-granting program at any museum in the United States. The Museum’s website, digital videos, and apps for mobile devices bring its collections, exhibitions, and educational programs to millions around the world. Visit amnh.org for more information.
Hours The Museum is open Wednesday-Sunday, 10 am–5:30 pm. The Museum is closed on Thanksgiving and Christmas.
Admission Museum admission is free to all New York City school and camp groups. New York, New Jersey, and Connecticut residents (with ID) have the option to pay what they wish for General Admission; the reservation must be made online and the transaction must be completed at the Museum ticket counter.
General Admission, which includes admission to all permanent exhibition halls and the Rose Center for Earth and Space but does not include special exhibitions, giant-screen 2D or 3D film, or Space Show, is $23 (adults), $18 (students/seniors), and $13 (children ages 3-12). All prices are subject to change.
Health Protocols The Museum maintains COVID-19 protocols to protect the health and safety of visitors and has taken steps to maintain a safe environment, including requiring facial coverings for visitors ages 2 and up and upgrading ventilation. As of August 25, 2021, in accordance with the New York City vaccination requirement, visitors ages 12 and older must be vaccinated against COVID-19 to enter the Museum and show proof of vaccination. Personal identification is required for visitors ages 18 and over. Visit amnh.org/plan-your-visit/covid-19-visitors-staff for more information about these and other health and safety protocols.
Public Information
For additional information, the public may call 212-769-5100 or visit the Museum’s website at amnh.org.
Follow
Become a fan of the American Museum of Natural History on Facebook at facebook.com/naturalhistory and follow us on Instagram at @AMNH or Twitter at twitter.com/AMNH.
Opens to Museum Members on December 10 and to the Public on December 15
People have been fascinated by sharks for as long as we have been exploring the oceans. Fixed in the public imagination as toothy, fearsome predators, sharks are far more fascinating and more complex, than their description in popular culture. Sharks, a new exhibition opening at the American Museum of Natural History this winter, will bring to life the incredible diversity of this ancient group of fishes and will offer visitors a unique look at pre-historic and modern shark species, their habitats and hunting styles, and the conservation threats these magnificent animals are facing today.
The evolutionary history of sharks began nearly 450 million years ago, more than 200 million years before the first dinosaur. Today, there are more than 500 species of sharks and more than 650 species of their close relatives—rays, skates, and chimaeras—inhabiting nearly all of the world’s aquatic environments, from coral reefs to the polar seas, and even freshwater rivers. While the terrifying monster from the movie Jaws is what many might imagine when they think of sharks, today’s scientists are uncovering many surprising facts about this diverse group. Convinced that all sharks are carnivores? (Fact: Recent research shows that bonnethead sharks eat seagrass and can digest plants). Where do great white sharks give birth to their young? (Fact: By tracking females, scientists recently discovered a great white shark nursery off the coast of Long Island, New York). Can shark tourism be more profitable than shark fishing? (Fact: where fishing and ecotourism are regulated, tourism can support shark communities for generations. In fact, a single whale shark has been shown to bring thousands of more dollars as a beacon for tourism than could be earned by killing it). Sharks addresses these exciting questions and reveals more secrets of the ocean’s top predators through life-sized models, touch-free interactives, real fossils, and dynamic media presentations.
Visitors to Sharks will explore the diversity, anatomy, and behavior of sharks and their close relatives through encounters with tiger sharks, great whites, and other familiar favorites along with little-known creatures such as the torpedo ray, the longnose chimaera, and the tiny dwarf lantern shark, which glows in the dark and is small enough to hold in your hand. The exhibition will showcase fossils from the Museum’s extensive collections, current Museum research, and a spectacular “parade” of sharks highlighting the diversity of ancient and modern shark species through 30 lifelike models that range from 33 feet to 5 inches long, including the prehistoric megapredator megalodon, the “Tyrannosaurus rex of the seas,” which was so large it preyed on whales. Other exhibition highlights include an interactive that challenges visitors to hunt like a hammerhead and touch-free media that reveals distinctive shark traits with the wave of a hand. Sharks also delves into the serious conservation issues facing sharks today, including overfishing and habitat destruction, demonstrating that while these amazing animals pose few threats to people, we represent a serious danger to them.
Sharks is curated by John Sparks, curator in the Museum’s Department of Ichthyology in the Division of Vertebrate Zoology, who previously curated Unseen Oceans, which explored the latest ocean science, and Creatures of Light: Nature’s Bioluminescence, which focused on the diversity of organisms that produce light. He also co-curated Life at the Limits: Stories of Amazing Species, about organisms with surprising abilities and those that thrive in extreme habitats. Sparks’ recent research explores the role that bioluminescence and biofluorescence play in the diversification of both shallow-reef and deep-sea fishes. His current projects include investigating the evolution and function of bioluminescent signaling systems in ponyfishes (Leiognathidae), lanternfishes (Myctophiformes), and dragonfishes (Stomiiformes), the origins of Madagascar’s freshwater and nearshore marine fishes, and the evolution and function of biofluorescence in marine fishes. Sharks has also drawn on the expertise of John Maisey, curator-in-charge emeritus, fossil fish, Division of Paleontology, whose research focuses on early chondrichthyans and shark evolution.
American Museum of Natural History (amnh.org) The American Museum of Natural History, founded in 1869, is one of the world’s preeminent scientific, educational, and cultural institutions. The Museum encompasses more than 40 permanent exhibition halls, including those in the Rose Center for Earth and Space, and the Hayden Planetarium, as well as galleries for temporary exhibitions. The Museum’s scientists draw on a world-class permanent collection of more than 34 million specimens and artifacts, some of which are billions of years old, and on one of the largest natural history libraries in the world. Through its Richard Gilder Graduate School, the Museum grants the Ph.D. degree in Comparative Biology and the Master of Arts in Teaching (MAT) degree, the only such freestanding, degree-granting program at any museum in the United States. The Museum’s website, digital videos, and apps for mobile devices bring its collections, exhibitions, and educational programs to millions around the world. Visit amnh.org for more information.
Hours The Museum is open Wednesday-Sunday, 10 am–5:30 pm. The Museum is closed on Thanksgiving and Christmas.
Admission Museum admission is free to all New York City school and camp groups. New York, New Jersey, and Connecticut residents (with ID) have the option to pay what they wish for General Admission; the reservation must be made online and the transaction must be completed at the Museum ticket counter.
General Admission, which includes admission to all permanent exhibition halls and the Rose Center for Earth and Space but does not include special exhibitions, giant-screen 2D or 3D film, or Space Show, is $23 (adults), $18 (students/seniors), and $13 (children ages 3-12). All prices are subject to change.
Health Protocols The Museum maintains COVID-19 protocols to protect the health and safety of visitors and has taken steps to maintain a safe environment, including requiring facial coverings for visitors ages 2 and up and upgrading ventilation. As of August 25, 2021, in accordance with the New York City vaccination requirement, visitors ages 12 and older must be vaccinated against COVID-19 to enter the Museum and show proof of vaccination. Personal identification is required for visitors ages 18 and over. Visit amnh.org/plan-your-visit/covid-19-visitors-staff for more information about these and other health and safety protocols.
Public Information
For additional information, the public may call 212-769-5100 or visit the Museum’s website at amnh.org.
Follow
Become a fan of the American Museum of Natural History on Facebook at facebook.com/naturalhistory and follow us on Instagram at @AMNH or Twitter at twitter.com/AMNH.
Wednesday, September 15, 2021
Cheers Greet The Reopening Of Three Mega-Hit Broadway Shows
NEW YORK (AP) — Theater royalty — in the form of Kristin Chenoweth, Julie Taymor and Lin-Manuel Miranda — welcomed back boisterous audiences to “Wicked,” “The Lion King” and “Hamilton” for the first time since the start of the pandemic, marking Tuesday as the unofficial return of Broadway.
Chenoweth surprised the crowd at “Wicked” by appearing onstage for a speech on the same stage where she became a star years ago. “There’s no place like home,” she said, lifting a line from the musical. The crowd hooted, hollered and gave her a standing ovation.
Taymor, the director and costume-designer of “The Lion King,” congratulated her audience for the courage and enthusiasm to lead the way. “Theater, as we know, is the lifeblood and soul of the city,” she said. “It’s time for us to live again.” And Miranda at “Hamilton” summed up the feeling of a lot of people when he said: “I don’t ever want to take live theater for granted.”
“The Lion King,” “Hamilton” and “Wicked” all staked out Tuesday to reopen together in early May after then-New York Gov. Andrew Cuomo picked Sept. 14 for when Broadway could begin welcoming back audiences at full capacity.
The trio of shows were beaten by Bruce Springsteen’s concert show in June and the opening of the new play “Pass Over” on Aug. 22, as well as the reopening of two big musicals — “Hadestown” and “Waitress.”
But the return of the three musicals — the spiritual anchors of modern Broadway’s success — as well as the return of the long-running “Chicago” and the reopening of the iconic TKTS booth, both also on Tuesday, are important signals that Broadway is back, despite pressure and uncertainty from the spread of the delta variant.
The crowds virtually blew the roof off the three theaters. At “Wicked,” they stood and applauded the dimming of the lights, the welcome announcement, the arrival and departure of Chenoweth, the opening notes of the first song and several moments during that song, especially when Glinda says: “It’s good to see me, isn’t it?”
At “The Lion King,” the opening song “The Circle of Life” was virtually drowned out by cheers and clapping, while every star in “Hamilton” had to pause to let the entrance applause die down enough to be heard again.
Linda Diane Polichetti, an usher at “Hamilton,” said she was proud to back at work. “I’m just glad to be back because the world I was in, I wasn’t recognizing,” she said. “I love my show. I love my cast.”
Ticketholders to all three mega-hits had to prove they were fully vaccinated with an FDA- or WHO-authorized vaccine and masks must be worn at all times, except when eating or drinking in designated areas.
Vaccine checkers in bright T-shirts inspected phones and cards as the crowds made their way into the theaters. “Thank you for getting vaccinated and wearing a mask,” Miranda said, to roars of approval. The crowds were very compliant with the new rules, only lowering their masks for the obligatory selfie. Taymor joked in her speech that the performers often wear masks. “Guess what? You get to wear masks tonight.”
Before the shows, Miranda, Taymor and “Wicked” composer Stephen Schwartz stressed that Broadway has implemented safety protocols that make cramming strangers into theaters as safe as it can be.
“We go to a theater for catharsis. Literally that’s what we go for: to be in communion with each other, hear a story told in the dark and experience catharsis,” said Miranda. “For a while, it wasn’t safe to do that. And it’s safe to come back now with the protocols we have in place.”
Actors across Broadway say they’re itching to get back on stage after more than a year of waiting, trusting the health experts to make the process safe. The bulk of Broadway’s theaters will be reopened by Thanksgiving.
“It’s a little bit like when you’re on an airplane and there’s turbulence,” said Sharon Wheatley, a veteran actor in the show “Come From Away,” which resumes its Broadway run Sept. 21. “I have to trust the pilot, I have to trust the air traffic controllers. I feel nervous, but I have to understand that I don’t know as much as these people do.”
“Hamilton,” which opened six years ago, “Wicked,” which opened 17 years ago and “The Lion King,” which opened 23 years ago, form the bedrock of modern Broadway, virtually immune to downturns, shifts in tourism and rivals.
Another sign that Broadway is inching back to normalcy is the re-opening of the famed TKTS booth in the heart of Times Square, where visitors can get same-day and some next-day discount Broadway and off-Broadway tickets.
“It’s such a big step forward,” said Victoria Bailey, executive director of the nonprofit Theatre Development Fund, which runs the booth. “To get it open and such a symbol to people that theater is coming back.”
Bailey says Broadway’s return will be less like a flick of a light switch and more like a dimmer, with a slow build to regular attendance. “We’ll know so much more in two or three weeks, but you can’t swim unless you can start by dog-paddling.”
During the pandemic, Miranda saw his visionary show turned into a critically hailed filmed version for Disney+, but said there no substitute for seeing it live.
“It’s one thing to see something on the screen. And I’m thrilled ‘Hamilton’ was was available on a screen in a time when we couldn’t go to a theater. But I’m even more thrilled that now it can be experienced the way it was meant to, live in front of an audience, the final collaborator every night.”
Chenoweth surprised the crowd at “Wicked” by appearing onstage for a speech on the same stage where she became a star years ago. “There’s no place like home,” she said, lifting a line from the musical. The crowd hooted, hollered and gave her a standing ovation.
Taymor, the director and costume-designer of “The Lion King,” congratulated her audience for the courage and enthusiasm to lead the way. “Theater, as we know, is the lifeblood and soul of the city,” she said. “It’s time for us to live again.” And Miranda at “Hamilton” summed up the feeling of a lot of people when he said: “I don’t ever want to take live theater for granted.”
“The Lion King,” “Hamilton” and “Wicked” all staked out Tuesday to reopen together in early May after then-New York Gov. Andrew Cuomo picked Sept. 14 for when Broadway could begin welcoming back audiences at full capacity.
The trio of shows were beaten by Bruce Springsteen’s concert show in June and the opening of the new play “Pass Over” on Aug. 22, as well as the reopening of two big musicals — “Hadestown” and “Waitress.”
But the return of the three musicals — the spiritual anchors of modern Broadway’s success — as well as the return of the long-running “Chicago” and the reopening of the iconic TKTS booth, both also on Tuesday, are important signals that Broadway is back, despite pressure and uncertainty from the spread of the delta variant.
The crowds virtually blew the roof off the three theaters. At “Wicked,” they stood and applauded the dimming of the lights, the welcome announcement, the arrival and departure of Chenoweth, the opening notes of the first song and several moments during that song, especially when Glinda says: “It’s good to see me, isn’t it?”
At “The Lion King,” the opening song “The Circle of Life” was virtually drowned out by cheers and clapping, while every star in “Hamilton” had to pause to let the entrance applause die down enough to be heard again.
Linda Diane Polichetti, an usher at “Hamilton,” said she was proud to back at work. “I’m just glad to be back because the world I was in, I wasn’t recognizing,” she said. “I love my show. I love my cast.”
Ticketholders to all three mega-hits had to prove they were fully vaccinated with an FDA- or WHO-authorized vaccine and masks must be worn at all times, except when eating or drinking in designated areas.
Vaccine checkers in bright T-shirts inspected phones and cards as the crowds made their way into the theaters. “Thank you for getting vaccinated and wearing a mask,” Miranda said, to roars of approval. The crowds were very compliant with the new rules, only lowering their masks for the obligatory selfie. Taymor joked in her speech that the performers often wear masks. “Guess what? You get to wear masks tonight.”
Before the shows, Miranda, Taymor and “Wicked” composer Stephen Schwartz stressed that Broadway has implemented safety protocols that make cramming strangers into theaters as safe as it can be.
“We go to a theater for catharsis. Literally that’s what we go for: to be in communion with each other, hear a story told in the dark and experience catharsis,” said Miranda. “For a while, it wasn’t safe to do that. And it’s safe to come back now with the protocols we have in place.”
Actors across Broadway say they’re itching to get back on stage after more than a year of waiting, trusting the health experts to make the process safe. The bulk of Broadway’s theaters will be reopened by Thanksgiving.
“It’s a little bit like when you’re on an airplane and there’s turbulence,” said Sharon Wheatley, a veteran actor in the show “Come From Away,” which resumes its Broadway run Sept. 21. “I have to trust the pilot, I have to trust the air traffic controllers. I feel nervous, but I have to understand that I don’t know as much as these people do.”
“Hamilton,” which opened six years ago, “Wicked,” which opened 17 years ago and “The Lion King,” which opened 23 years ago, form the bedrock of modern Broadway, virtually immune to downturns, shifts in tourism and rivals.
Another sign that Broadway is inching back to normalcy is the re-opening of the famed TKTS booth in the heart of Times Square, where visitors can get same-day and some next-day discount Broadway and off-Broadway tickets.
“It’s such a big step forward,” said Victoria Bailey, executive director of the nonprofit Theatre Development Fund, which runs the booth. “To get it open and such a symbol to people that theater is coming back.”
Bailey says Broadway’s return will be less like a flick of a light switch and more like a dimmer, with a slow build to regular attendance. “We’ll know so much more in two or three weeks, but you can’t swim unless you can start by dog-paddling.”
During the pandemic, Miranda saw his visionary show turned into a critically hailed filmed version for Disney+, but said there no substitute for seeing it live.
“It’s one thing to see something on the screen. And I’m thrilled ‘Hamilton’ was was available on a screen in a time when we couldn’t go to a theater. But I’m even more thrilled that now it can be experienced the way it was meant to, live in front of an audience, the final collaborator every night.”
Thursday, August 5, 2021
Broadway, Hollywood Costumes Go On Exhibit In Heart Of NYC
NEW YORK (AP) — Most Broadway stages may still be dark, but there’s a place in Times Square where the costumes shine.
More than 100 costumes from such shows as “Hamilton,” “Dear Evan Hansen” and “Wicked” are part of a new exhibit this summer revealing the careful, hand-crafted beauty of garments that can’t always be appreciated from the mezzanine in a theater.
“Showstoppers! Spectacular Costumes from Stage & Screen” opens Thursday and tickets are $29, with seniors and child access for $24. All proceeds go to the Costume Industry Coalition’s recovery fund.
The costumes have been borrowed from such Broadway hits as “Harry Potter and the Cursed Child,” “The Lion King,” “The Phantom of the Opera,” “Moulin Rouge! The Musical,” “Chicago,” “The Cher Show,” “Frozen” and “Aladdin,” as well as TV’s “The Marvelous Mrs. Maisel” and “Saturday Night Live.”
There also are costumes from the James Bond film “No Time to Die” and the upcoming Aretha Franklin biopic “Respect,” as well as cruise ships, Disney World, American Ballet Theatre, Martha Graham Dance Company, New York City Ballet and San Francisco Ballet.
The 20,000-square-foot, two-level exhibit space at 234 West 42nd St., — once the New York City flagship of the sports retail chain Modell’s — has been transformed into an immersive areas with mannequins sporting the garments. Visitors can see real craftspeople at workspaces beading, painting or stitching costumes, showing intense work that goes into the garments.
“We reached out to all of our partners and asked to borrow assets, not only to show off the product of what we bring to the stage or the screen but also the process,” said Brian Blythe, who co-runs the full-service John Kristiansen costume shop and founded the Costume Industry Coalition.
Sally Ann Parsons, owner of the veteran made-to-order house Parsons-Meares, which made the Nala and Simba costumes for “The Lion King,” will be sending a crew to demonstrate how they make corsets and bodices.
“One of our jobs is to be storytellers and to tell the story of the whole piece. But also we help the performers with their character,” she said. “We’re grateful for the chance to show what we do.”
The coalition was born during the pandemic to advocate for the survival of New York City’s custom costume industry. It is made up of 56 small, unique, independent businesses and artisans in and around New York City, many who pivoted to making masks and surgical gowns during the pandemic. Members collectively lost over $26.6 million in revenue last year.
“The coalition was formed to really advocate for our collective survival. And while we are cordial competitors, we all know each other and we all network because we all work on the same shows together,” said Blythe.
Thinc Design, a global design firm founded by former theater set designer Tom Hennes, has designed the exhibit space to be a journey — complete with video, photographs and music — through the world of costume making.
“I think this is an industry that is fairly invisible to the general public, but it’s composed of this huge variety of craftspeople and artisans, artists who do work that’s just absolutely thrilling to see up close,” said Hennes, who has donated his firm’s services.
Though the costumes may be magical, there is a nod to the current climate: All guests in the space are required to wear a mask throughout the exhibit regardless of vaccination status, except for designated mask-free zones.
Organizers hope the exhibit can spread a little awareness about the intense work that goes into costumes, promote some reopening Broadway shows and offer impatient fans of ballet and theater something to cheer before live venues return.
“It’s a real celebration of the combination of talent and skill and imagination that underwrites some of the spectacle and beauty of the entertainment business in general and theater, film, television and ballet in particular,” said Hennes.
Online: https://www.showstoppersnyc.com
More than 100 costumes from such shows as “Hamilton,” “Dear Evan Hansen” and “Wicked” are part of a new exhibit this summer revealing the careful, hand-crafted beauty of garments that can’t always be appreciated from the mezzanine in a theater.
“Showstoppers! Spectacular Costumes from Stage & Screen” opens Thursday and tickets are $29, with seniors and child access for $24. All proceeds go to the Costume Industry Coalition’s recovery fund.
The costumes have been borrowed from such Broadway hits as “Harry Potter and the Cursed Child,” “The Lion King,” “The Phantom of the Opera,” “Moulin Rouge! The Musical,” “Chicago,” “The Cher Show,” “Frozen” and “Aladdin,” as well as TV’s “The Marvelous Mrs. Maisel” and “Saturday Night Live.”
There also are costumes from the James Bond film “No Time to Die” and the upcoming Aretha Franklin biopic “Respect,” as well as cruise ships, Disney World, American Ballet Theatre, Martha Graham Dance Company, New York City Ballet and San Francisco Ballet.
The 20,000-square-foot, two-level exhibit space at 234 West 42nd St., — once the New York City flagship of the sports retail chain Modell’s — has been transformed into an immersive areas with mannequins sporting the garments. Visitors can see real craftspeople at workspaces beading, painting or stitching costumes, showing intense work that goes into the garments.
“We reached out to all of our partners and asked to borrow assets, not only to show off the product of what we bring to the stage or the screen but also the process,” said Brian Blythe, who co-runs the full-service John Kristiansen costume shop and founded the Costume Industry Coalition.
Sally Ann Parsons, owner of the veteran made-to-order house Parsons-Meares, which made the Nala and Simba costumes for “The Lion King,” will be sending a crew to demonstrate how they make corsets and bodices.
“One of our jobs is to be storytellers and to tell the story of the whole piece. But also we help the performers with their character,” she said. “We’re grateful for the chance to show what we do.”
The coalition was born during the pandemic to advocate for the survival of New York City’s custom costume industry. It is made up of 56 small, unique, independent businesses and artisans in and around New York City, many who pivoted to making masks and surgical gowns during the pandemic. Members collectively lost over $26.6 million in revenue last year.
“The coalition was formed to really advocate for our collective survival. And while we are cordial competitors, we all know each other and we all network because we all work on the same shows together,” said Blythe.
Thinc Design, a global design firm founded by former theater set designer Tom Hennes, has designed the exhibit space to be a journey — complete with video, photographs and music — through the world of costume making.
“I think this is an industry that is fairly invisible to the general public, but it’s composed of this huge variety of craftspeople and artisans, artists who do work that’s just absolutely thrilling to see up close,” said Hennes, who has donated his firm’s services.
Though the costumes may be magical, there is a nod to the current climate: All guests in the space are required to wear a mask throughout the exhibit regardless of vaccination status, except for designated mask-free zones.
Organizers hope the exhibit can spread a little awareness about the intense work that goes into costumes, promote some reopening Broadway shows and offer impatient fans of ballet and theater something to cheer before live venues return.
“It’s a real celebration of the combination of talent and skill and imagination that underwrites some of the spectacle and beauty of the entertainment business in general and theater, film, television and ballet in particular,” said Hennes.
Online: https://www.showstoppersnyc.com
Tuesday, August 3, 2021
Travelore News: NYC Will Require Vaccination Proof For Indoor Dining, Gyms
NEW YORK (AP) — New York City will soon require proof of COVID-19 vaccinations for anyone who wants to dine indoors at a restaurant, see a performance or go to the gym, Mayor Bill de Blasio announced Tuesday, making it the first big city in the U.S. to impose such restrictions.
The new requirement, which will be phased in over several weeks in August and September, is the most aggressive step the city has taken yet to curb a surge in cases caused by the Delta variant. People will have to show proof that they have had at least one dose of a vaccine.
“The only way to patronize these establishments indoors will be if you’re vaccinated,” de Blasio said. “The goal here is to convince everyone that this is the time. If we’re going to stop the Delta variant, the time is now. And that means getting vaccinated right now.”
The Democrat said some details of how the program will work still need to be worked out. The policy will go into effect on Aug. 16 but inspections and enforcement won’t begin until Sept. 13, the week that the city’s public schools reopen for the fall.
De Blasio has focused on getting as many New Yorkers vaccinated as possible while resisting calls to mandate masks indoors, as several cities and counties in California have done.
De Blasio said Monday he was making “a strong recommendation” that everyone wear a mask in public indoor settings but stressed that the city’s “overwhelming strategic thrust” remained getting more people vaccinated.
The mayor announced last week that city employees would be required to get vaccinated by mid-September or to face weekly testing, and he has offered a $100 incentive for city residents who get inoculated.
About 66% of adults in New York City are fully vaccinated, according to official data.
On Monday, the U.S. reached President Joe Biden’s goal of getting at least one COVID-19 shot into 70% of American adult s — a month late and amid a surge by the delta variant that is overwhelming hospitals and prompting renewed pandemic regulations around the country.
The new requirement, which will be phased in over several weeks in August and September, is the most aggressive step the city has taken yet to curb a surge in cases caused by the Delta variant. People will have to show proof that they have had at least one dose of a vaccine.
“The only way to patronize these establishments indoors will be if you’re vaccinated,” de Blasio said. “The goal here is to convince everyone that this is the time. If we’re going to stop the Delta variant, the time is now. And that means getting vaccinated right now.”
The Democrat said some details of how the program will work still need to be worked out. The policy will go into effect on Aug. 16 but inspections and enforcement won’t begin until Sept. 13, the week that the city’s public schools reopen for the fall.
De Blasio has focused on getting as many New Yorkers vaccinated as possible while resisting calls to mandate masks indoors, as several cities and counties in California have done.
De Blasio said Monday he was making “a strong recommendation” that everyone wear a mask in public indoor settings but stressed that the city’s “overwhelming strategic thrust” remained getting more people vaccinated.
The mayor announced last week that city employees would be required to get vaccinated by mid-September or to face weekly testing, and he has offered a $100 incentive for city residents who get inoculated.
About 66% of adults in New York City are fully vaccinated, according to official data.
On Monday, the U.S. reached President Joe Biden’s goal of getting at least one COVID-19 shot into 70% of American adult s — a month late and amid a surge by the delta variant that is overwhelming hospitals and prompting renewed pandemic regulations around the country.
Thursday, July 15, 2021
NYC Chinatown Museum Reopens With Anti-Asian Racism Exhibit
NEW YORK (AP) — A New York City museum dedicated to telling Chinese American history marked its reopening to the public on Wednesday, with an exhibit on Asian Americans and racism that it curated partially through submissions gathered during the pandemic and a surge of anti-Asian bias incidents around the country.
The opening was a long time coming for the Museum of Chinese in America, not only because of the pandemic shutdown of over a year but because of a fire that ravaged though the space where its collection was housed in January 2020. Luckily, most of the collection was salvaged.
Looking back, there was a question of “how were we going to survive, but we kept pivoting,” said Nancy Yao Maasbach, the museum’s president.
That included a lot of virtual programming, including the call for submissions that became part of “Responses: Asian American Voices Resisting the Tides of Racism,” opening to the public on Thursday.
In the exhibition, the outer walls are a running history of sorts, a timeline showcasing the racism and bigotry that’s been turned toward Asian and Asian Americans throughout their generations in the U.S.
They touch on the treatment of the earliest Asian immigrant communities, how stereotypes connecting them and disease have a long history, to more recent issues like the treatment of Middle Eastern and South Asian communities in the wake of the Sept. 11 attacks.
The anti-Asian bias of the pandemic is on display, with a timeline including top government officials using anti-Asian slurs as names for the coronavirus and blaming China for its existence.
There’s also a listing of various attacks that had Asian victims, like the shootings at spa businesses in Georgia in March, where six women of Asian descent were among the eight people killed.
In the center of the show are items collected by the museum showing how Asian Americans have tried to push back against bias in the past year, like photographer Mike Keo’s series of images of Asian Americans sharing their identities with the hashtag, #IAMNOTAVIRUS.
Another piece is a collection of yellow whistles, which visitors are encouraged to take. Dr. Agnes Hsu-Tang and Oscar Tang founded the Yellow Whistle Project this year, offering the items as a security measure in case help is needed and making them yellow in a reference to how the color has been weaponized as a xenophobic slur against Asian Americans.
It was important to include both the history and the pandemic-related material, said Herb Tam, curator and director of exhibits at the museum.
“We felt like even though the submissions since April 2020 were really wonderful ... it wouldn’t have been enough,” he said, and they wanted the exhibition to “make people aware of how this is not new, the way that Asians have been made to feel foreign, or the way we have been scapegoated for a disease.”
The opening didn’t come without controversy. Two artists who had been slated to have their images of Chinatown in Oakland, California, in the show pulled their photos in recent days, following a similar action from other artists in a show the museum was supposed to have put on last year.
The artists, Colin Chin and Nicholas Liem, withdrew their work over a controversy about a contested city plan to site a new jail facility in Chinatown. In talking about the overall project, the city said MOCA would be getting $35 million toward its capital needs, which critics of the jail plan have used to condemn the museum.
The museum has been adamant that it does not support the jail, and Yao Massbach said it had been asking the city for capital funds for several years before the controversy.
Liem, speaking to The Associated Press from Seoul, South Korea, wasn’t convinced. “You can’t say you’re against something while financially benefitting from it,” he said.
At the press event for the new exhibit on Wednesday, protesters could plainly be heard from the street outside, at times right up next to the clear windows at the front of the building.
Tam called the artists’ withdrawal “disheartening” and the controversy was being fueled by “mischaracterizations.”
By DEEPTI HAJELA
The opening was a long time coming for the Museum of Chinese in America, not only because of the pandemic shutdown of over a year but because of a fire that ravaged though the space where its collection was housed in January 2020. Luckily, most of the collection was salvaged.
Looking back, there was a question of “how were we going to survive, but we kept pivoting,” said Nancy Yao Maasbach, the museum’s president.
That included a lot of virtual programming, including the call for submissions that became part of “Responses: Asian American Voices Resisting the Tides of Racism,” opening to the public on Thursday.
In the exhibition, the outer walls are a running history of sorts, a timeline showcasing the racism and bigotry that’s been turned toward Asian and Asian Americans throughout their generations in the U.S.
They touch on the treatment of the earliest Asian immigrant communities, how stereotypes connecting them and disease have a long history, to more recent issues like the treatment of Middle Eastern and South Asian communities in the wake of the Sept. 11 attacks.
The anti-Asian bias of the pandemic is on display, with a timeline including top government officials using anti-Asian slurs as names for the coronavirus and blaming China for its existence.
There’s also a listing of various attacks that had Asian victims, like the shootings at spa businesses in Georgia in March, where six women of Asian descent were among the eight people killed.
In the center of the show are items collected by the museum showing how Asian Americans have tried to push back against bias in the past year, like photographer Mike Keo’s series of images of Asian Americans sharing their identities with the hashtag, #IAMNOTAVIRUS.
Another piece is a collection of yellow whistles, which visitors are encouraged to take. Dr. Agnes Hsu-Tang and Oscar Tang founded the Yellow Whistle Project this year, offering the items as a security measure in case help is needed and making them yellow in a reference to how the color has been weaponized as a xenophobic slur against Asian Americans.
It was important to include both the history and the pandemic-related material, said Herb Tam, curator and director of exhibits at the museum.
“We felt like even though the submissions since April 2020 were really wonderful ... it wouldn’t have been enough,” he said, and they wanted the exhibition to “make people aware of how this is not new, the way that Asians have been made to feel foreign, or the way we have been scapegoated for a disease.”
The opening didn’t come without controversy. Two artists who had been slated to have their images of Chinatown in Oakland, California, in the show pulled their photos in recent days, following a similar action from other artists in a show the museum was supposed to have put on last year.
The artists, Colin Chin and Nicholas Liem, withdrew their work over a controversy about a contested city plan to site a new jail facility in Chinatown. In talking about the overall project, the city said MOCA would be getting $35 million toward its capital needs, which critics of the jail plan have used to condemn the museum.
The museum has been adamant that it does not support the jail, and Yao Massbach said it had been asking the city for capital funds for several years before the controversy.
Liem, speaking to The Associated Press from Seoul, South Korea, wasn’t convinced. “You can’t say you’re against something while financially benefitting from it,” he said.
At the press event for the new exhibit on Wednesday, protesters could plainly be heard from the street outside, at times right up next to the clear windows at the front of the building.
Tam called the artists’ withdrawal “disheartening” and the controversy was being fueled by “mischaracterizations.”
By DEEPTI HAJELA
Sunday, May 9, 2021
New York City To Offer Virus Vaccinations To Tourists
NEW YORK (AP) — See the sights — and get a shot.
New York City hopes to begin offering coronavirus inoculations to tourists by stationing vaccination vans at Times Square and other attractions, Mayor Bill de Blasio said Thursday.
The city needs state approval to vaccinate visitors and hopes to get an OK as soon as May 8th
The state Health Department said it hadn’t yet received a formal plan to review.
“Meanwhile, we remain focused on vaccine equity and ensuring vaccine access for vulnerable New Yorkers and continue to assess the most effective use of doses as demand stabilizes,” spokesperson Jonah Bruno said.
De Blasio called the city’s idea “a positive message to tourists: ‘Come here. It’s safe, it’s a great place to be and we’re going to take care of you.’”
“It’s a show of goodwill. It’s a welcome,” but not a requirement, the Democratic mayor said. He said the city has no plans to track tourists’ vaccination status.
Besides Times Square, the vans would appear in such places as Central Park, Brooklyn Bridge Park and the High Line elevated park, de Blasio said. Visitors would get the one-dose Johnson & Johnson vaccine, so they wouldn’t have to follow up with a second shot.
Although many visitors might leave New York before the vaccine’s full protection kicks in, de Blasio argued that “the more people get vaccinated, the better” for the city and world.
Under another plan announced Thursday, tourists and New Yorkers alike could see some new artwork and performances in public spaces.
De Blasio said the city would spend $25 million to hire over 1,500 artists and performers for an “Artists Corps” that would create murals, pop-up shows and other works.
Cultural Affairs Commissioner Gonzalo Casals said details would be announced later.
New York City hopes to begin offering coronavirus inoculations to tourists by stationing vaccination vans at Times Square and other attractions, Mayor Bill de Blasio said Thursday.
The city needs state approval to vaccinate visitors and hopes to get an OK as soon as May 8th
The state Health Department said it hadn’t yet received a formal plan to review.
“Meanwhile, we remain focused on vaccine equity and ensuring vaccine access for vulnerable New Yorkers and continue to assess the most effective use of doses as demand stabilizes,” spokesperson Jonah Bruno said.
De Blasio called the city’s idea “a positive message to tourists: ‘Come here. It’s safe, it’s a great place to be and we’re going to take care of you.’”
“It’s a show of goodwill. It’s a welcome,” but not a requirement, the Democratic mayor said. He said the city has no plans to track tourists’ vaccination status.
Besides Times Square, the vans would appear in such places as Central Park, Brooklyn Bridge Park and the High Line elevated park, de Blasio said. Visitors would get the one-dose Johnson & Johnson vaccine, so they wouldn’t have to follow up with a second shot.
Although many visitors might leave New York before the vaccine’s full protection kicks in, de Blasio argued that “the more people get vaccinated, the better” for the city and world.
Under another plan announced Thursday, tourists and New Yorkers alike could see some new artwork and performances in public spaces.
De Blasio said the city would spend $25 million to hire over 1,500 artists and performers for an “Artists Corps” that would create murals, pop-up shows and other works.
Cultural Affairs Commissioner Gonzalo Casals said details would be announced later.
Sunday, August 23, 2020
Sept. 11 Museum To Re-Open On 9/11 Anniversary
NEW YORK (AP) — Nearly six months after the coronavirus forced its closure, the 9/11 Memorial Museum will be reopening on the anniversary of the terrorist attacks next month, first to those who lost loved ones and then to the general public, museum officials announced Thursday.
The memorial plaza had been open to the public with social distancing restrictions since early July, but the museum remained closed, as did other cultural institutions. New York Gov. Andrew Cuomo said last week that museums would be allowed to reopen with restrictions starting later this month.
“We are extremely pleased to announce the reopening of the 9/11 Memorial Museum, a physical testament to the triumph of hope and our potential for resilience in the face of adversity and unfathomable loss,” said Alice Greenwald, the 9/11 museum’s president and CEO.
Meanwhile, the National Park Service announced Thursday that the museums on Liberty and Ellis islands will reopen Monday at 25% of their normal crowd capacity, though the Statue of Liberty’s interior and some parts of the museums will remain closed.
At the 9/11 museum, the anniversary day reopening will be reserved for families of those killed in the 2001 attack and the 1993 World Trade Center attack. The public will be able to visit starting Sept. 12.
Pandemic restrictions will be in effect, such as a limit of 25% of capacity, and a requirement to wear masks. The museum had always mandated visitors to get timed entry tickets in advance, which will continue now.
The museum said other measures had been implemented, such as Plexiglas dividers and hand-sanitizing stations, as well as temperature screenings for all, and a one-direction path through the facility.
Hours at the museum are being restricted to five days a week, from the seven days it had been opened before its shutdown in mid-March. The museum will now be closed on Tuesday and Wednesday.
Some exhibition spaces will remain closed to the public, and some services like coat check will not be available.
Thursday, June 25, 2020
Statue Cruises Begins Operating 60-Minute Tours Of New York Harbor
With public safety top of mind, Statue Cruises follows social distancing guidelines, including face mask requirements for crews and guests, reduced vessel capacity and contactless payment, to help keep guests safe and stop the spread of COVID-19
New York, NY – The New York waterfront is re-opening its sails as Statue Cruises begins offering 60-minute harbor tours featuring breathtaking views of the Statue of Liberty, Ellis Island, Brooklyn Bridge and much more.
The 60-minute harbor tours will run four times daily out of the Battery Park departure point in lower Manhattan at 10 AM, 11:30 AM, 1 PM and 2:30 PM, seven days per week until service to the Statue of Liberty and Ellis Island resumes. Statue Cruises is the exclusive provider of ferry service for the National Park Service to the Statue of Liberty and Ellis Island.
To help safeguard guests and crews while on board during the public health crisis, Statue Cruises will strictly follow the guidance of local, state and federal officials and incorporate Centers for Disease Control and Prevention (CDC) best practices. Statue Cruises is encouraging social distancing to the greatest extent possible, reducing the capacity on board vessels by 50 percent, requiring all employees and guests to wear face masks at all times, thorough robust deep cleaning of vessels throughout each day, daily temperature checks of all Statue Cruises personnel, contactless payment, and more.
“As we head into the heart of the summer season, Statue Cruises is committed to providing these harbor tours with the safety of our crew and guests as our highest priority,” said Mike Burke, Vice President and COO of Statue Cruises. “We look forward to welcoming New Yorkers and friends of New Yorkers back on board to enjoy the sights and sounds of New York’s historic waterfront.”
Tickets are priced at $26/adult, $19/seniors, $14/child and free for children three years and under. Tickets may be purchased in advance (strongly encouraged) from the Statue Cruises website or at Gangway 5 in Battery Park. For more information on Statue Cruises, please visit www.statuecruises.com.
Saturday, October 19, 2019
MoMA Reopens With More Space, Fresh Juxtapositions
Contributed by KATHERINE ROTH
NEW YORK (AP) — The Museum of Modern Art’s new $450 million, 47,000-square-foot expansion offers visitors more than much-needed elbow room. It emphasizes new juxtapositions of works to encourage broader perspectives and new narratives.
The revamped MoMA, a third bigger than the old one, opens to the public on Oct. 21.
While iconic works by the likes of Monet, Van Gogh, Picasso and Pollock remain dependably on view, visitors are invited to see them in a new light, now displayed side by side with less familiar works by women and minorities, and artists from places like Africa, South America and Asia.
The goal is to rethink the familiar and make Modernism feel fresh and challenging again.
“Sometimes even small juxtapositions can have a big impact,” says Jodi Hauptmann, senior curator of drawings and prints at MoMA. “On the fifth floor, for example, Van Gogh’s ‘The Starry Night’ is now shown in the same gallery as a collection of ceramics made at the same time by George Ohr, of Biloxi, Mississippi. It’s interesting to see those things together.”
Picasso’s 1907 “Les Demoiselles d’Avignon” now shares gallery space with a 1967 painting by African-American artist Faith Ringgold featuring an interracial gunfight. Seeing the two works together provides fresh perspective on both, and seems to emphasize the violence of Picasso’s fractured bodies.
“Inspired by Alfred Barr’s original vision to be an experimental museum in New York, the real value of this expansion is not just more space, but space that allows us to rethink the experience of art in the museum,” says Glenn D. Lowry, director of MoMA.
To keep creating fresh juxtapositions, offer up more of the museum’s permanent collection, and place greater focus on multiculturalism, the revamped MoMA promises to rotate many of the works in its galleries every six months.
“It’s an opportunity to show visitors what the museum has been doing in terms of collecting these past years,” says Michelle Elligott, chief of archives, library and research collections.
In some of the galleries, sculpture, painting, design, architecture, photography and film are all featured together.
“We have now brought various departments into conversation, which allows visitors to explore what different artists were doing during the same time period,” says Martino Stierli, chief curator of architecture and design at the museum.
Other galleries continue to focus on a single medium. Explains Juliet Kinchin, curator in the department of architecture and design: “Each floor has a broad chronological frame, but within each frame there’s more flexibility, with occasional breakouts to create a dialogue.”
“We’re trying to have some areas that are fully integrated in terms of departments, and other areas where you can really focus solely on a particular medium,” she says.
To help alleviate crowds, MoMA now has more ways to reach the galleries, including through a new wing on the west side.
The expansion, developed by MoMA with architects Diller Scofidio and Benfro in collaboration with Gensler, also includes a larger ground floor — including two new galleries — that is free and open to the public.
There is aIso a new studio space for live and experimental programming, including music, sound, spoken word and expanded approaches to the moving image.
“The idea is that the museum will now be a more engaging destination for both repeat visitors, as well those visiting the museum for the first time,” says Elligott.
Monday, October 14, 2019
Empire State Building Shows Off New $165 Million Observatory
By VERENA DOBNIK
NEW YORK (AP) — The observatory atop the Empire State Building has a dizzying new look with floor-to-ceiling, 360-degree windows 102 floors above New York City.
The remodeled observatory opened to the public Saturday October 12th. It was unveiled to the media Thursday.
More than 4 million annual visitors to the 1931 Art Deco skyscraper — about 60% from abroad — will be offered an unobstructed view of the city and far beyond through panoramic floor-to-ceiling sheets of glass. They replace old windows that were half the size.
For a nocturnal view of New York, visitors have until 1:15 a.m. to take a new, high-speed, translucent elevator to the 102nd floor. Now visible from the interior on the way up are the building’s tower lights, whose colors change daily to celebrate holidays or people.
On the way up to the high new perch are an additional 10,000 square feet (930 sq. meters) of fresh exhibits, including a replica of the moving hand of King Kong, the monster gorilla in the 1933 film that climbs the building, plunging to its death amid an attack by Helldiver military planes.
Also on display are photos of actors in movies shot there.
The $58 cost to get to the observatory at 1,250 feet (380 meters) above Fifth Avenue has not changed. But now, visitors are promised shorter lines that have often stretched out onto Fifth Avenue, spilling into an elbow-to-elbow lobby crowd before even getting into an elevator.

The entrance to the observatories has been switched to the side of the building on West 34th Street, where added security stations help move the crowd along. Tickets may be purchased at electronic kiosks installed only last year, in addition to online purchases.
The building also has remodeled its famous open-air observatory on the 86th floor, which still requires a $38 ticket. Walls were opened between the interior space and the open-air terrace so city views emerge immediately after exiting the elevators.
The four-year project cost $165 million and was financed by Empire State Realty Trust Inc.
Remodeling was a daunting task, said project manager Robert Krizman.
Workers mounted metal baskets suspended outside the 103rd floor, wearing harnesses attached to the building. From there, they removed defunct broadcast antennas weighing 200 pounds each, jutting out from the top and bottom of the old windows.
Their work station was an aluminum and wood cocoon ringing the 102nd floor for months while the old walls were demolished.
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This story has been updated to correct the height of the remodeled observatory to 1,250 feet above the street, instead of 1,224 feet.
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