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bunnys-beetlejuice-blog · 3 years ago

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just full on bodies you with a semi NEW FIC JUST DROPPED BABES

we are leaving cute high school world and entering pain town. this story will have mentions of self harm and suicidal ideation. Please take care of yourselves and don't engage if that sort of content is triggering to you. (be nice to yourselves, i love you)

The worst year of his life starts out the same as so many good days, it almost makes him dizzy to think back on. He feels, later, that a start to this much torment, this painful, should have begun completely fucking miserable, but it had been just any other day. It starts the same way so many days before it starts. His eyes open. He’s in his bedroom, in his bed, like normal. He’s staring up at his black ceiling, wrapped up in his bedspread. His phone buzzes, and he groans, reaches for it, scans messages. A good morning from Barbara, an unread goodnight from Adam, a text from that talent agency that there was something they could use his voice for. He throws back his blankets, rubs sleep from his eyes, and dresses.

In high school his uniform had been an oversized striped hoodie, but for his birthday a few years ago, Charles had bought him several nice dress pants, suit jackets, and collared shirts, and he’d sort of settled into that as his new everyday. He likes how he looks, because this shit is expensive, custom, made to fit his more generous frame, and both his partners always say he looks handsome in a jacket and tie. (Sometimes Barbara yanks him around by the tie. Sometimes Adam snaps his suspenders.) And besides, his dad had taken his preferences into consideration, because all the pieces he’d been gifted had that pattern he was drawn to, thick black and white stripes that absolutely stand out in a crowd. He dresses quickly, throws on his suit jacket over his pinstriped shirt. He adjusts his tie, and gives a grin. Too many teeth, too sharp, and he waves a hand in front of his mouth, and tries again. Human teeth. There we go, B-Man. He lifts his legs, not especially in the mood to walk, and begins to make his way downstairs, for breakfast. He passes by Lydia’s room, and considers harassing his sister, but he remembers how bad he needed his Saturday sleep-ins at fifteen, and takes pity on her, floating past her door silently.

His father, always an early riser, is already in the kitchen, making a pot of coffee, and Betelgeuse lets his feet hit the floor, so that his heeled boots clack against the kitchen tile.

Charles knows the sound, doesn’t even turn around. “Morning, BJ. Any plans for today?”

His relaxed, not exactly actively working lifestyle is not his dad’s favorite, but he’s got a long time, a lot longer than any other person, to work a job. He's just enjoying the time he gets with all his favorite breathers, before he doesn’t have it anymore. At least, that’s always been his excuse. It's not that he can't find work, or that he’s unhirable to a normal job, it’s that he’s trying to enjoy life. Obviously.

But there's good news this morning.

“Got a text from th’ agency. Some voice work,” he grunts. His insanely gravely voice is not always in high demand, but it's been getting some attention lately, mostly because the last commercial he did voice over for, he had to sing, and the request for more of that has been promising. The big goal is some acting gig, on stage, preferably, but he’d take TV, too. He loves the attention, he loves the rush, he loves entertaining. Unfortunately he’s got a demonic aura that makes breathers nervous on principle. He knows if he could just get a break, he’d have a lot to give… but he’s maybe not working on getting that break as hard as he could be.

“Very nice,” Charles finally turns, and smiles, clearly approving. He sets a cup of coffee in front of his son, and BJ glances at it. “Be a pal and wake your mother up?” “This early? On a Saturday?” He squints. “You tryna take me out via Emily attack?” “We’ve got that check up to go to,” Charles says. “I don’t want to be late.”

He shrugs, takes the cup, and vanishes from sight, appearing upstairs, next to his mother. Emily is still wrapped in the bedsheets, snoring lightly, but he knows the trick to rousing her. The coffee cup is waved around her nose, allowing the aroma to hit her senses, and, eyes still closed, she reaches for it. He pulls the cup back.

“Come on, ma,” he scratches gently at her scalp. “Time to get up.” “Coffeeeee,” she groans, reaching at it blindly again, and he grins, and walks backwards, setting the coffee on the dresser, across the room. “Coffee’s over here, Deetzy,” he tells her, and she finally cracks an eye open, and groans. “Evil. Evil son.” “Yup,” he agrees, easily. “Come on. Chuck says you got some appointments to keep.” His mother groans, and kicks back the sheets, before standing.

He’d been twelve, and herself only about thirty when she’d found him, and now, ten years later, at 40, her age is showing, a little. She’s been growing in gray hair for the past few years, and it hasn’t taken over her natural sunshine yellow, but it’s becoming a bit more noticeable, and the slight lines forming around her mouth and eyes are a new addition to her features. Chuck’s aging in much the same way, but with fewer laugh lines. The hair at his father’s temples is going gray, and if he really looks, he can see the beginnings of salt and pepper in his father’s beard. He doesn’t like looking for it, though, and doesn't like the feeling gnawing in his guts at seeing his parents age. If he had his way, they’d stay frozen in time, the way he probably will. Demons don’t age, past a certain point, and he’s pretty sure he’ll be hitting it, soon enough.

He watches his mother shuffle across the floor, and claim her prize of coffee. She takes a long sip, and then groans. “I don’t want to go to the doctor,” she complains to him, and he pats her shoulder. “I know, ma,” he gives her a very sympathetic smile. “But you gotta. Or Chuckles will throw a fit. It’s just a check up, right? No biggie.” She rubs at her temple, and winces. “Getting old sucks,” she tells him. “I’ve been having the worst headaches, recently.”

When they make it back downstairs, Chuck's got breakfast going, and Lydia is sipping her own coffee. Black, like her heart, she always says. He passes her by and ruffles that mop of long blonde hair. “Beetle breath,” she greets him, as he takes a plate from Charles, and sits to eat.

The voice over work isn't as big a deal as he was hoping. He adjusts his tie, fiddles with the collar of his pinstripe dress shirt, and steps out of the booth. “Fuckin’ peanuts,” he complains, and his agent just shrugs. “Gotta start small, BJ. We need someone to do some crooning for this other comercial, some car sale, or something. You feel like playing Sinatra for a bit?”

Not especially, but he does it anyway, and then meets Adam and Barbara for lunch. Adam’s taking classes for business management, and he’s just about done. He wants to take over his grandpa’s hardware store, outside of the city. Way outside, actually, in some little town in Connecticut. They’ve got shared plans, shared dreams, and all of it hinges on this little store in this little town. BJ isn’t too worried. His boyfriend’s hobbies come and go, but Adam really, really enjoys woodworking, and getting to own a place like that sounds like getting to own his own playground.

Barbara, meanwhile, is stuck in clerical work, which she finds mind numbingly dull, but it's a steady paycheck, and it’s afforded her a ticket out of her dad’s place, so that’s something. She and Adam share a tiny studio apartment in Queens, and for all the time Betelgeuse spends there, he might as well live there, too. But three people in a studio isn’t any of their idea of a good time. Speaking of…

“I was on zillow, today,” Adam starts, and he and Barbara lean over with varying degrees of interest, as Adam shows them his phone. It’s a house, predictably, but a nice one. Old fashioned, and a little creeping looking. He likes it.

“She’s a bit of a fixer upper,” he says, admiring the house. “But the price is right, and look at all this character. Classic Queen Anne, with the original crown molding! Tons of space, lots of room for the three of us.” “Maybe a forth,” Barbara smiles brightly, and he matches her enthusiasm. She’s wanted to be a mom since he’s known her, six pretty amazing years, and while a lot has changed in that time, her maternal desire is as strong as ever.

“Maybe a fifth,” BJ grins, wiggling his eyebrows at her, and she flushes. “One from each of my boys.” She agrees, and she reaches across the table, for his hand, which he gives her. Adam takes her other hand, and they’re lost in that fantasy for a moment. He’s not actually sure he can give her what she wants, since he’s not exactly human, but Adam can, at least. And he gets to be part of it. Goddamn, he’s lucky.

“So? Tell us about this commercial you just did!” Adam smiles at him.

“S’not a big deal, just some radio ad,” He tells them, but he’s flattered that they’re always overly enthusiastic about his bit parts. “I heard you on the radio in the office, a few days ago!” Barbara remembers. “My coworkers couldn’t believe that was your real voice! You make such a good villain.” Of course he does. He keeps the smile on, because he knows Babs, knows that she means it in the sweetest, most lovey dovey way possible, but he’s never going to play the hero, because no hero sounds like a demon. He can’t get in his head about this, not right now. Not when the weather’s so nice, and he’s sitting across from the people he loves the most.

“I am the villain, babes,” he grins at her, and stands, leaning over to kiss and rub his stubble into her neck, until laughing, she pushes him away.

“Maybe you should come to the office with me, tomorrow,” Chuck says, over dinner. BJ resists the urge to stab himself through the eye with his fork. “M’not that into real estate, pop,” he tells him, and Emily smiles. “You know BJ’s an artist.” “I just think if he gave it a try,” Charles says, looking to his wife. “That he’d excel at it. I mean, good lord, all real estate is, is making deals and fast talking. He’s built for that sort of thing.” Betelgeuse grimaces. “But then I’d have to spend any amount of time around your coworkers, an’ those other big money creeps.” “Those big money creeps write the checks that paid for this house, BJ,” Chuck reminds him.

“I’ll be sure to send Maxie Dean a fruit basket.”

“Skip the fruit, just send that freak ass a basket of snakes,” Lydia says, and he grins. “Do not do that.” “Psh. Whatever, dad,” he pitches his voice into a teenage whine, and his father gives a dry smile in return. “So, that doctor appointment?” Lydia looks to Emily, and their mother smiles. “Got some scans done, no biggie. Checkups just suck. I’ve been having those migraines, recently, but the doctor didn’t seem to think it was a big deal.”

He’s staring down at his mother, in hospice, and those words echo around his mind. No big deal. The doctor didn’t seem to think it was a big deal. Just a couple migraines. Just some dizziness. Just some nausea. Just a tumor. Just another breather’s life, coming to an end.

Her bedroom is dark. The curtains are drawn. He’s sitting to her left, Lydia dozing to her right, and Emily is sleeping, dozing lightly. Chuck’s talking to the nurse in the hall. The last twelve months are a blur. He can’t remember individual days, can only remember when those test results came back. He remembers, vaguely, holding her hand during treatments. But there’s nothing any breather alive can do about the tumor, about the placement of it. At least she’s at home, at least she’s laying in her own bed. At least she’s not stuck in the hospital. Her sun colored hair is gone. Her smile is gone. That mischievous glint in her eyes is gone. All Emily does is sleep. All they can do is wait. read the rest of this chapter, plus the second one i couldn't help but post, over here, on Ao3! https://archiveofourown.org/works/32243065/chapters/79911316

#beetlejuice fic #beetlejuice the musical #emily deetz #lydia deetz #goldenbeetle #beetlelands fic #legitimately very excited i finally get to post this!!#my writing #beetlejuice

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gra-sonas · 4 years ago

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Day after day this summer, with covid-19 shuttering much of the world, Lily Cowles would enter a small sewing room in her family’s 18th century home in Northwest Connecticut, crawl inside some blankets, and scream. Along with her wails, she’d repeat the same phrases, over and over — all part of a daily ritual that spanned some four hours, until a collection of voices told her they were satisfied. Then she would collect herself, climb out from the blankets and greet her boyfriend who could hear her through the walls in the next room.

“Man, you died a lot of ways today,” he’d say.

“I don’t know why they killed me so bad,” Cowles would reply.

Such were the unusual conditions for Cowles and others when recording the dialogue — and other vocalizations — for the upcoming game “Call of Duty: Black Ops Cold War,” the newest addition to the famed and fanciful war sim series. The blanket-draped fort served as the actress’s workstation, with a host of audio producers providing directions via video conference. Occasionally those instructions included imagining a wide variety of fates for her character, requiring lengthy sessions capturing death cries. All of it was part of a months-long, pandemic-related process to produce the game, one that proved both challenging in its never-before-done nature and cathartic for its ample opportunities to exorcise the many anxieties of 2020.

“It just felt so good to scream for that long,” said Cowles, who plays MI-6 operative Helen Park and supplied the character’s voice for both the game’s story and multiplayer modes. She recalled one session in which the game’s audio producers recorded her falling from a 30-story building. “I was like, ‘can we make it 40 floors? I could really use the extra 10 [stories] of just straight screaming.’ It just felt like a real relief.”

The unorthodox routine was shared by “Cold War’s” cast of 125 actors as they pivoted to follow safety protocols related to the novel coronavirus, which temporarily shut down the game’s production in March. The latest installment in the Call of Duty franchise, releasing Nov. 13, was completed with both developers and actors working remotely and overcoming a variety of logistical challenges.

“At the time [in March, when covid cases escalated in the United States] we thought it might be like 20 people or 50 percent of the studio who would have to work from home, and maybe that would be for like two weeks,” Dan Vondrak, Senior Creative Director at Raven Software, said. “And then it was everybody. … In my head, I was thinking, if this thing lasts six to eight weeks, we can’t get it done. That’s impossible.”

For Cowles and the game’s other actors, that meant recording lines of dialogue — and their many screams — from the confines of their homes. That process normally would be captured in large part during live shoots using motion capture suits on a studio sound stage. During the pandemic, capturing those recordings provided a unique challenge for narrative producer Natalie Pohorski and her team.

“One of those areas I thought we were just dead in the water was the external talent [voice overs],” Vondrak said. “I can’t have actors go into a studio. So, how is this going to work? And what Natalie and the narrative team did to get that to work and have people recording at home was unbelievable.”

Before dispersing from the studio, Pohorski and Vondrak estimated they had between 50 and 60 percent of the voice over work finalized. Working with their partners at Activision (the game’s publisher) and Treyarch (“Cold War’s” co-developer), Pohorski and her team shipped the actors crates filled with recording equipment that included helmets wired with microphones, sound mixing boards and materials to improve the acoustics around their homes.

“They sent me this giant Pelican briefcase that looked like I’m an arms dealer,” Cowles said.

Veteran actor Bruce Thomas, who plays the role of CIA agent Russell Adler in the game, already had a 5-foot-by-5-foot sound booth he’d constructed in his apartment adjacent to his kitchen. He’d used it to previously to record voice overs, including for some commercials, but he’d never recorded himself there quite so regularly — or at quite the same volume level. To that end, he sought to get ahead of any potential problems with a kind gesture and a heads-up for his neighbors about any yells they may hear through the walls.

“I delivered cookies and a little note to their doors right next to me and below me,” Thomas said. “I just moved here in January, so I hadn’t really met them yet, and I got a text message from the person below me who was like, ‘Oh my God! You do that for a living? How cool is that? Even if I hear you, don’t worry about it.’”

The conditions also required the actors to perform another role as well: that of audio engineer, recording and tinkering with sound levels to ensure quality and consistency. The studio’s engineers would call actors and walk them through proper setups and troubleshoot issues, but when something went wrong, the actors would have to be the ones to fix it manually. Turns out CIA operatives have the same tech troubles as other remote workers.

“Because of covid, everybody’s home and sharing bandwidth,” Thomas said about the Internet connection in his apartment building. “Sometimes it would just cut right out [during an online recording session]. And sometimes when that happens, a glitch will happen on your laptop and so you have to reboot it.”

The recording process consisted of four sessions per day, every day of the week, according to Pohorski, who also noted they wrapped at a similar time compared to what they’d anticipated in their pre-pandemic production schedule, even as they navigated challenges that would have been easily addressed in their usual studio setting.

“To not be able to just walk up and touch the screen and act out what I was talking about … ‘I want the guy’s head to turn this way,’ … I was trying to do it real time in a video camera,” Vondrak said. “Just the communication of that last 20 percent [of the game] was probably the most difficult.”

The on-the-fly evolution of several standardized processes did carry some fringe benefits, according to both the developers and actors. On the development team, Vondrak noted some people seemed more willing to contribute their opinions to the creative process when they didn’t feel the pressure of speaking up in a formal meeting. For the actors, Cowles said her isolated, remote location led her to take more chances with her character.

“I think I was able to make facial expressions and noises that, in a normal setting, my body would be like, ‘Don’t, don’t, don’t. You don’t want to make that noise. Don’t make that face,’" Cowles said. “But I was alone in this thing, and you know, the context in which we’re working [as characters] is this crazy war zone where horrible things are going down. Right? And no one in that situation is thinking about the sound they’re making or the face that they’re making. … I think that led to a degree of authenticity in my work.”

Another silver lining, according to Vondrak, was the increased flexibility in scheduling follow-up sessions for VO work. Oftentimes VO recording sessions are pegged to specific times of the year when the developers can gather all the actors in one place and free them from their other projects. (For example, Thomas is also the motion capture actor for Master Chief for the upcoming game “Halo: Infinite.”) With everyone working from home, the actors’ schedules became more flexible.

“It was like, wait a minute, we can just go back to these people and have them pop out of their family room, into their closet and record some VO lines,” Vondrak said. “Normally it would have been like, ‘We need some new lines.’ And [the schedulers] would have said, ‘Well, the next pick up session where everyone’s going to be in the studio is June.' It’s [normally] a very slow, formal process."

The flexibility did carry an occasional side effect of home life encroaching on the working world, and vice versa, often providing a uniquely 2020 kind of amusement.

Cowles remembered recording a scene in which her character laments the loss of one of her companions, screaming his name repeatedly as a helicopter whisks her away.

“I came out of the sewing room, and my boyfriend is like … ‘So, who is he?’” Cowles said. “I was like, ‘Don’t worry about it. He’s dead now.’”

#lily cowles #call of duty: black ops cold war #rnm cast interviews #helen park

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essexcttour · 4 years ago

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The area of Essex called Essex Village was originally named Potapoug Point, or Big Point, by the Nahantic tribe. It was laid out as a part of the original Saybrook colony in 1648. It bordered the Connecticut River with two large coves on either side. There were three original families: the Pratts, the Hides, and the Lays. The Lays took the northern parts, the Pratts the middle acres, and the Hides the southern acres. In 1722 the settlers were given the right to form a Congregation Church, which was located in Center-Brooke, the original “social center” of what is now the Town of Essex. Main Street on the "point" was not laid out until 1748, and up to that time only a few people resided here.

By the middle of the 18th century, however, the focus was already moving to Potapoug Point, or Essex Village as we now know it, where shipbuilding was beginning to offer an alternate occupation to farming. The building of the ship “Oliver Cromwell” in 1775/76 by Captain Uriah Hayden could be considered the pivotal change in the local economy. The Oliver Cromwell was the first ship commissioned and financed by the Colony of Connecticut and the largest one launched in the river valley up to that time. The Town of Essex itself was split from Old Saybrook, and was incorporated in 1854, and in 1859, the villages of Centerbrook and Ivoryton were added. Shipbuilding remained a main economic force until the 1870s.

1. The Essex Town Green was originally the site of three homes. The Town Green borders Middle Cove and looks out onto Thatchbed Island.

2. The Gamaliel Conklin House, a center chimney, colonial style home with a steeply pitched roof, was built in 1800. Conklin, along with Jesse Murray, was a supplier of masts, blocks, and gear for the shipbuilding industry. 20 Main Street.

3. Next door is the Jesse Murray house, built in 1805, is in the Federal Style. 22 Main Street.

4. Uriah Hayden House. 24 Main Street. Uriah was the man most responsible for establishing a formal shipbuilding industry in Essex. Meigs Lane was once a pentway. This house was modeled after the new Baptist church, built by Jeremiah Gladding, in the “Egyptian style.” Additions have been added since.

5. 26 Main Street. Cape house on water. 1803.

6. The Noah Pratt house, 28 Main Street. Built in 1805 on land original known as Cornfield point. The house was sold to Uriah Hayden in 1817 and remained in the Hayden family until 1977. It now houses Commercial offices.

7. 30 Main Street, at the corner of Parker Lane, was erected in 1840 for Judge William Phelps. It was later owned by Dr. Charles H. Hubbard (1836-1908), who practiced in Essex for nearly forty-eight years. He also held various town offices and was the executor for the estate of Capt. Isaiah Pratt (1814-1879), who had left money for a new high school. Dr. Hubbard successfully challenged a stipulation in the will that would have limited enrollment to the children of parents who were members of the First Congregational Church. He continued as a trustee and leader of the new school for many years. Hubbard Field in Essex is named for him. The barn in back is newly constructed. Considered Greek Revival.

8. 32 Main Street. 1799. Grover L’Hommedieu (1741-1841) was one of the patriot militiamen who became refugees from Long Island to Connecticut after the Battle of Long Island in 1776 during the Revolutionary War. He settled in Norwich and in 1797 leased land from Samuel Lay in Essex. There he erected the town’s first ropewalk. Around that time he also erected the house at 32 Main Street in Essex. It was later occupied by his son Ezra L’Hommedieu (1772-1860), a ship-carver who invented the double-podded center screw auger, which he patented in 1809. Grover’s daughter Sarah (Sally) married Ebenezer Hayden II, the town’s leading merchant. In 1802, Grover L’Hommedieu sold the ropewalk to his partner, Ebenezer’s son, Jared. In 1815, the L’Hommedieu House was purchased by another member of the Hayden family, John G. Hayden.

9. The L’ Hommedieu Ropewalk. Essex had two ropewalks, in different locations, at different times. L'Hommideau had "lately erected" a frame that was 15' wide by 60 rods (1000') long that ran on the north side of Main Street. This meant it ran from the west side of the current "Glass Basket" building to where Essex Square is today. There was a 20' wide "store" at the west end of this ropewalk, and the land rent was 4 pounds per year. Main Street followed a different path at that time, being located roughly halfway between current Main and Pratt Streets, and there was no Essex Square or North Main Street then. Grover was allowed to have a "copper"(large tar kettle) and a capstan for winding rope on the north side of this structure, although these were on Lay property. This "frame" was said to be "open," indicating it probably had a roof, but no sidewalls. Consequently, it was probably operated on a seasonal basis. It was torn down in 1814.

10. The Griswold Inn, oldest continuously operating Inn in America is at at 36 Main Street. The Griswold Inn is the most famous landmark building in Essex. A sign at the Inn states that the Griswold House was built by Sala Griswold in 1776. It originally stood near the shipyard and was moved to its current location on Main Street to become part of the house constructed by Richard Hayden in 1801. Hayden’s house was the first three-story building in the lower Connecticut River Valley. Around the same time, Richard’s two brothers, John G. and Amasa Hayden, built houses on either side (they are now part of the Griswold Inn complex, the Amasa Hayden House being the Inn’s annex). Hayden sold his house to Ethan Bushnell in 1806, moving to a new brick house nearby. Ethan Bushnell turned his home into a tavern. A former schoolhouse on the property, built in 1738, was attached to the house, possibly to serve as a kitchen (it is now the taproom). After the Burning of the ships in 1812, it notoriously served and housed British soldiers. The Tavern was inherited by Bushnell’s children in 1849 and passed through a variety of owners over the years, probably acquiring the name Griswold House during the period it was owned by Emory Morse of Wallingford in the 1870s and 1880.

The Griswold Inn starred in Halmark’s “Christmas at Pemberley Manor” movie. And had a role in the 70’s Dark Shadows series as the Collinsport Inn. Owned by only six families. Currently owned by Geoff Paul, who lives in Champlin Square.

12. Richard Hayden house/ Hayden rectory. 1806. Richard Hayden, an Essex shipbuilder and merchant, built the first brick house in town in 1806. He had earlier lived in the house which is now the Griswold Inn. Hayden was head of the Hayden Shipyard and he built a ship’s chandlery in 1813, which was later moved across Main Street. During the War of 1812, he built a privateer schooner, the Black Prince, which he advertised in New York. This was one of the causes of the British Raid on Essex in 1814, which led to serious financial losses for Hayden, who died two years later. His widow and children remained in the Federal-style house until 1833, when Richard Hayden’s cousin, Samuel Hayden, bought the house. In 1894, Samuel’s daughter, Mary Tucker, left the house and furniture to St. John’s Episcopal Parish and was the church’s rectory until 2013.

13. Noah Tooker house. 1728. At corner of Novelty Lane. May have faced the river, then turned when the rectory was built. Several other houses in Essex were built to face the river and remain so sited today.

14. The Ebenezer Hayden II (the first Ebenezer Hayden was a brother who was born earlier but had died) probably built his Georgian and Federal style house, located on Main Street in Essex, in stages in the late 1790s. The doorway, featuring a semi-circular fanlight window, may have been added around 1800. The Hayden House was the first home in the lower Connecticut River Valley to have a hipped roof, which may have been constructed by the noted builder Thomas Hayden of Windsor and shipped down the river in sections to be placed on the building. The Ebenezer Hayden House is the third home up from the river and one of many homes built by members of the Hayden family in the vicinity of the Hayden Shipyard. Ebenezer II married Sarah, the daughter of Grover L’Hommideau, who had created the town’s first ropewalk.

15. Foot of Main, the Hayden-Starkey Store, at 48 Main Street in Essex, was only the second brick building in town when it was built in 1809. A warehouse and ships store, or chandlery, it was constructed by Samuel and Ebenezer Hayden, sons of Capt. Uriah Hayden, and was situated between their two residences. Their cousin, Richard Hayden, had recently built his house, Essex’s first brick building, nearby. Timothy Starkey, Jr., the Hayden brothers’ brother-in-law, became their partner in 1810. It is said that the British destroyed ropewalk and took merchandise from this store during their raid on Essex in 1814. Remaining in the Hayden family for many years, the building became a residence in 1856.

16. Uriah and Ann’s Inn. Now the Dauntless Boat Club. Built in 1776, this important structure was the homestead and tavern of shipbuilder Uriah and Ann Hayden. The Oliver Cromwell ship was built in his shipyard to the south of the house in 1776. The front yard has been filled in. To the southeast on Middle cove shore, where the Essex Corinthian Yacht club, Essex Yacht club, and Novelty Lane now stand, was the location of the Old Shoddy Mill, a wood turning factory which burned down in 1900. It was once owned by Thomas Dickinson, who went on to found the Witch Hazel factory.

17. Dickinson Boathouse, built by E.E. Dickinson of Witch hazel factory fame in the 1920’s. It replaced a West Indies warehouse that was built in 1753 and torn down in 1918. The building is now in privately owned.

18. Burning of the ships. The embargo that President Thomas Jefferson passed, followed by the British blockade of the Connecticut River during the War of 1812, impacted the shipbuilding industry of the town. The leading boat builders were converting their merchant ships into privateers in the hope of bringing home some of the spoils of war, but this act backfired. On the morning of April 8, 1814, 137 British marines and sailors, under the command of Captain Richard Coote, raided Potapoug Point and destroyed 28 ships with a value of $200,000. Of which, $60,000 was lost by the Haydens. The disaster, one of the few invasions and occupation of US. soil by a foreign power, is celebrated almost every year in Essex with a parade. It was, after all, the greatest financial loss suffered by the American side during the War of 1812. Why was there no real resistance by the Potapaug Militia, either during the initial attack, or during the British retreat? The head of this force lived in a home on the lefthand side of Main Street, close to the shore. There is strong suspicion that he agreed not to oppose the raiding force, in return for their promise not to harm homes or residents. Recently uncovered minutes of the local Masonic Lodge add greatly to this speculation for George Jewett, the Militia commander, was also Master of the Lodge. Captain Richard Coote, the person in command of the British, who had apparently spared the ships of one Judea Pratt of New City Street, due to Masonic influence, could undoubtedly have "cut a similar deal" with fellow Freemason Jewett.

One immediate result of the raid was the demise of the old 1797 ropewalk, and a new larger one built 200 feet to the north. This change set for current street layout and appearance of Essex. Up until then, most commercial activity in Essex Village had centered in Champlin Square, with the Pratt Smithy and Ebenezar Hayden Store.

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peterlbrowncompany · 1 year ago

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Peter L. Brown Company

Building Enclosure Systems (Including Window and Door Systems): Peter L. Brown,

Give It a Shot, and I Think You'll Agree With Me.

Peter L. Brown Company has been serving the people of Connecticut since its founding in 1960.

After building a barn next to his house in Bloomfield in 1960, Peter L. Brown started going door to door selling aluminum siding and windows. He moved his company to Granby, Connecticut in 1969. Peter L. Brown's economic success may be traced back to his incessant quest for excellence. Since the early 1960s, when we first began advertising on WTIC radio with Bob Steele, we have been unable to meet customer demand vinyl siding companies near me The Company has diligently built a reputation as a trustworthy siding, roofing, and window installation business in order to acquire the confidence of home owners.

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When it comes to commercial and residential roofing and siding, no one does it better than Peter L. Brown Roofing & Siding.

No payment is due until after the job is done. We follow time-honored business procedures, and our sales and service staff are here to support you. Our extensive inventory includes everything from vinyl and wood windows and doors to siding, roofing, porch enclosures, awnings, storm windows and doors, and gutters.

ADDING SIDING TO THE HOME

Changing the siding on your home is a simple and inexpensive method to update its curb appeal. When it comes to vinyl siding, nobody does it better than Peter L. Brown Co. This siding material lasts a long time and needs very little maintenance, making it an excellent choice for residential use.

These PlyGem Vinyl Replacement Windows are excellent and were made just for our use. PlyGem has been around for over seven decades, ever since it was established in 1940. They were the first to implement novel strategies in the building materials business, and they remain among the industry's most progressive players today.

Roof Maintenance

Atlas Roof Shingles are treated with Scotchgard Protector, which prevents the growth of algae that leaves unsightly black streaks on roofs. Roofs are especially vulnerable to the growth of algae because of the high humidity there.

If you're looking for a strong and long-lasting fiberglass door, go no further than ProVia's Signet Fiberglass Doors.The Legacy Steel Doors by ProVia we give are the best of the best in terms of longevity, style, and performance.

WARNINGS REGARDING WOODEN PARTS OF TREES

If a window is broken or the roof starts leaking, most people can probably guess what would follow, but can they foresee what will occur if the gutters become clogged? Both are plainly bad, but a blocked gutter may be more difficult to detect.

FREE ESTIMATES

Peter L. Brown Company understands the potential magnitude of the cost associated with replacing roofing or siding. As a neighborhood business, we provide cost-free price quotes. If given the opportunity, we will provide an objective assessment of your home's roofing, siding, and windows and make recommendations for upgrades that would increase the home's resale value and curb appeal. Please get in touch as soon as possible as we require price quotes for roofing and siding installation.

Exterior Remodeling

Protecting your home from the weather requires sturdy siding, windows, and doors. In the spring, you can expect rain and hail; in the summer and fall, scorching heat and dazzling sunshine; and in the winter, freezing rain and snow, so you'll need to be prepared for all four seasons. You must have a sturdy addition to your home. Vinyl siding's timeless appeal is heightened by the variety of styles and colors it may be made into. To keep vinyl siding looking fresh and new, a simple wash now and then is all that's needed.

Roofing

Peter L. Brown is an honest choice for a roofing contractor because he is fully licensed, bonded, and insured. We provide a wide variety of products and may assist you in claiming any tax breaks for which you may be eligible. We promise that our expert hands will not compromise the integrity of your roof in any way when installing new shingles.

Reasons to Hire Us Industry Experts in All Aspects of Exterior Renovations; Recognized as a Frontrunner in the Industry Time and Time Again

At Peter L. Brown, making sure our clients are satisfied is our first priority. While working hard to meet your requirements, our employees will always treat you and your home with respect. The Peter L. Brown Company places a premium on the safety of your most valued possession. With the motto "Do it right the first time and you won't have to do it again," we make sure to use premium materials and retain skilled workers throughout the year.

Peter L. Brown built a barn next to his house in Bloomfield and started a door-to-door aluminum siding and window business in 1960. He moved his company to Granby, Connecticut in 1969. Peter L. Brown's economic success may be traced back to his incessant quest for excellence. Since the early 1960s, when we first began advertising on WTIC radio with Bob Steele, we have been unable to meet customer demand. The Company has diligently built a reputation as a trustworthy siding, roofing, and window installation business in order to acquire the confidence of home owners.

GET A FREE ESTIMATE

Wood and vinyl windows, vinyl siding, roofing, porch enclosures, doors, awnings, storm windows, storm doors, and gutters are just some of the exterior home restoration products now available from the Peter L. Brown Company. When working with our sales and service team, you can count on receiving accurate information and having a positive experience.

#vinyl siding companies near me

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kotstarusa · 4 years ago

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Building Business With Free Online Classified Ads

One time sellers and long term sellers can cash in on the advantages of free online classifieds. Despite the service is given to you free of cost, free online classifieds ad websites offer great service in helping you sell your products.

Free online classifieds websites generally are of two kinds - some have an option for upgrading your free classified ad to a paid one and for others it is completely free. Completely free online classifieds ads websites find revenue by attracting advertisers who like to include text links or banners pointing to their websites.

Either way, one can get online classifieds ad placing for free. Good free classifieds ads websites have some moderation to filter the ads that appear in the website. This is to avoid such items like illegal to trade items from showing up in the classifieds ads listings.

The completely free for all, no moderation websites offer little value to either visitors or advertisers as the whole site will be spawned with thousands of advertisements that have no real value to the visitors.

Businesses looking to build their business with online free classified ads should take necessary care to avoid such websites that are open for all and no moderation. The only thing will be lose of time.

Online classifieds ads free websites that offer to place free classified ads should have human filtering system. Sites that don't maintain its integrity this way will not easily be recognized as good websites, even though they offer the service free of cost.

Online classifieds ads websites that allow you to place classifieds ads do collect your email address and use the email address to sell you products, software and other schemes for advertising your products.

This is actually a downside of free classifieds ads websites. They first attract you with a genuine offer by giving you an option to post your classified ads for free. Then they will also send you emails, telling you about further great opportunities to post your ad for a fee.

Many people who actually use free classifieds ads websites signup for a new @yahoo.com or @gmail.com account for the sole purpose of managing free classifieds ads accounts.

You can get maximum mileage out of your free online classifieds ads if you apply the basics of classifieds ads writing. Think what your prospective customers will be looking for while they read classifieds ads put by you. Draft your free classifieds ads in such a way to appeal to that requirement.

In simpler words, imagine yourself as a buyer of that specific product and imagine you are looking for that product. What product description will attract you the most? Which product description will be believable to you? And what ads will be able to sell you the product. Make sure to apply the answers of those questions in your ad.

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selbyjennings1 · 3 years ago

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Insurance Hiring Trends Set to Shape 2022

The insurance industry, like many other financial services verticals, has been gripped by change. The global climate crisis, new entrants, flexible working structures, and candidate expectations, to name a few, are facets that have been a disruptive force for the insurance sector. Today, opportunity could be a turning point for the industry, and Selby Jennings expects to see insurance teams adapt to the everchanging market, yet again this year, to remain at the cutting edge.

Our specialist insurance and actuarial consultants have identified key market factors that impacted hiring and what this means for the insurance industry in 2022. Through the lens of talent, let’s first glance back and examine the state of the insurance market in 2021 to determine if these trends will be set in motion this year.

Property & Casualty

Managing talent was undoubtedly a complex task, especially in the context of natural disasters across the US, environmental, social, and governance (ESG) concerns, and the lingering global pandemic. For the property & casualty sector, the unfortunate hurricanes and tropical storms impacted the market, with an abundance of individuals buying homeowners and flood insurance, particularly across the Southeast.

With the roads quieter due to a drop in commuting, auto insurance fell short in 2021, thus many candidates tried to make a switch into other P&C products, such as commercial property, professional liability, general liability, among others. Lauren Hankins, Vice President – Property & Casualty at Selby Jennings, comments, “with the advancement in telematics however, this can get a more accurate algorithm. For example, onstar systems in vehicles can evaluate driver safety, which will ultimately adjust the cost of insurance rates based on the individual.”

Insurtech took center stage last year, with new firms popping up across the US and driving hiring activity. These insurtech products allowed teams to leverage advanced technologies to streamline operations, cut costs, and provide an agile service. Digitally enabled technologies made it possible for consumers to access insurance at the click of the finger, which in a nutshell, dramatically changed the face of the industry and the need for business-critical talent to meet this demand.

For the P&C market, hiring across Arizona and Florida picked up, but it was the tristate area (New York, New Jersey, and Connecticut) and Midwest that topped the charts, since both regions are traditionally the major hubs for property & casualty insurance.

Health

With many moving parts heavily impacting property & casualty in the past year, what can be said for health insurance? Surprisingly, the global health crisis didn’t mitigate the hiring plans in the health sector, it actually opened up new doors to non-traditional side of health insurance. Medicare advantage talent acquisition remained buoyant, and the team on ground observed a huge uplift in headcount across key players. Under new administration, Medicaid programs exploded across many states, and on the back of these market changes, consulting actuaries were widely sought after – the backbone to help keep health insurance organizations on the right footing.

In similarity to property & casualty, forward-thinking insurtech companies dominated the health field in 2021. Start-ups pushed the boundaries on automation and touchless processes, and through this innovation and significant injection of funding which reached an estimated high of $8.7bn in 2021, headcount needs simultaneously accelerated. Consulting firms were noisy and due to the nature of their work, many looked to up the ante on their talent acquisition efforts.

Normally businesses require a combination of designations and experience. However, this flipped on its head last year – designations had as much onus as experience and firms were willing to pay upfront for it.

The Northeast bucked the biggest hiring trend, mainly in New York and other surrounding states including, Connecticut, Mass, and Pennsylvania, which are typically home to the top consulting firms.

Life & Annuity

From the onset of the global pandemic, most individuals quickly experienced how life could turn upside down overnight – thus, financial protection in the form of life insurance supercharged in importance. This, along with a notable uptick in M&A and Reinsurance transactions across the life and annuity industry, meant that businesses capitalized on the evolving market and hired aggressively, another result of the spike in talent demand.

As we activate more passive talent, remote work remains at the top of every candidate list. The convenience of work-life balance paired with upward flexibility from home attracts the most passive of talent. When candidates need to relocate for the job, consulting firms, direct insurers, as well as reinsurers, have been increasing compensation even more to remain competitive with the remote shift in the market.

With the life and annuity industry being the most active we’ve seen in years; our team anticipates this only being the beginning.

Looking forward: hiring in a new playing field

It’s no doubt that insurance firms enjoyed healthy hiring activity in 2021, but what’s to be said for this year? While the immediate focus might center on the proliferation of digitized insurance tools, such as telematics and automation, we expect flexible working, compensation inflation, and ESG to pose a challenge, or opportunity, for employers.

Compensation trends

Last year, property & casualty talent activity could be described as unpredictable, with this being most prevalent in acquisition. In the candidate-driven market, some firms practically threw out the rule book and overlooked specific exams that would have previously been an industry requirement. This year, it’s likely that organizations will continue to pay a premium to win over top talent from their competitors.

In the life & annuity industry, there is a discrepancy between the supply and demand of actuarial professionals. As more jobs are available than talent, we are often seeing candidates have 3-4 offers on the table. It’s no surprise that compensation has significantly inflated across most insurance verticals.

Historically, for life & annuity as well as health insurance, professionals at all levels of seniority would be awarded, on average, a 5-7% increase on their base salary. This figure has gone through the roof, with many receiving 7-15% increases on the base salary. With such a competitive market, we anticipate continuous increases to secure and retain top talent.

In-demand skillsets

In health insurance, with the continual spike in Medicare, we forecast a huge shift towards this area and Medicaid in 2022, and beyond. With the way that the market has evolved, it’s possible that actuaries with experience in Medicare will be in-demand, especially as bid season is fast approaching. Alongside proficiency in risk adjustment, the Society of Actuaries (SOA) recently added a new exam for predictive analytics.

As always, for the property & casualty sector, the key modelling skillsets going into 2022 is R and Python. With the rise in cyber and ransomware attacks, this might result in a boom in cyber insurance and simultaneously the specialists, minimum of 2-3 years in underwriting, to better service this demand. In addition to fluency in modelling, designations from Associates of the Casualty Actuary Society (ACAS) and Fellowship of the Casualty Actuary Society (FCAS), has importance to employers and therefore significant currency in the market.

Workplace flexibility

As the world of work continues to evolve, how can insurance firms remain ahead of the curve? The future is truly flexible – we are constantly advising our clients to integrate flexible ways of working into their business models. With nearly 80% of all placements at Selby Jennings being fully remote last year, it’s clear that the flexible working paradigm is king on today’s career decision ladder and for employers, this should certainly be considered as a strategy to attract and reduce high employee turnover.

Hiring processes

A speedy interview process is critical to secure market-leading professionals. Chase Rose, Associate Vice President – Health Insurance at Selby Jennings, advises to move quickly because, “some candidates have a first interview on Monday and usually have an offer by Friday.” It’s imperative to hire quick and hire smart. Not only is a speedy interview process more cost-effective, but in today’s market that is deeply driven by candidates, they have all the bargaining chips with competing offers on the table, and laggard processes simply won’t cut it.

The most profound example of fast-tracked hiring in action is in life & annuity. Consulting firms streamlined their interview processes and condensed them into 2-3 stages in contrast to the traditional 3-5 rounds.

ED&I

The insurance sector will continue to play a vital role to push the needle forward, both internally and externally for improving equality, diversity, and inclusion. Society of Actuaries (SOA) have made great strides to promote diversity, beginning at education through to career level, working with networking groups to attract diverse/female candidates to the profession. From sharing insights into the life of an actuary, to all the opportunities available, SOA aims to drive awareness and help build the future pipeline of women into the industry.

From a talent perspective, on the ground, we witnessed many of our clients using redacted resumes and eliminating unconscious bias in the interview process by switching pronouns in communication.

Working with a specialist talent partner like Selby Jennings can help kickstart your next career journey or unlock your organization's full potential. Whether that’s helping to connect to industry-leading opportunities or aligning your talent needs to operational strategies, we have a bespoke talent offering available to both candidates and clients alike.

#Insurance careers #Insurance jobs #Financial Recruitment Jobs

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blackkudos · 6 years ago

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Stuart Scott

Stuart Orlando Scott (July 19, 1965 – January 4, 2015) was an American sportscaster and anchor on ESPN, most notably on SportsCenter. Well known for his hip-hop style and use of catchphrases, Scott was also a regular for the network in its National Basketball Association (NBA) and National Football League (NFL) coverage.

Scott grew up in North Carolina, and graduated from the University of North Carolina at Chapel Hill. He began his career with various local television stations before joining ESPN in 1993. Although there were already accomplished African-American sportscasters, his blending of hip hop with sportscasting was unique for television. By 2008, he was a staple in ESPN's programming, and also began on ABC as lead host for their coverage of the NBA.

In 2007, Scott had an appendectomy and learned that his appendix was cancerous. After going into remission, he was again diagnosed with cancer in 2011 and 2013. Scott was honored at the ESPY Awards in 2014 with the Jimmy V Award for his fight against cancer, less than six months before his death in 2015 at the age of 49.

Early life

Stuart Orlando Scott was born in Chicago, Illinois on July 19, 1965 as the son of O. Ray and Jacqueline Scott. When he was 7, Scott and his family moved to Winston-Salem, North Carolina. Scott had a brother named Stephen and two sisters named Susan and Synthia.

He attended Mount Tabor High School for 9th and 10th grade and then completed his last two years at Richard J. Reynolds High School in Winston-Salem, graduating in 1983. In high school, he was a captain of his football team, ran track, served as Vice President of the Student Council, and was the Sergeant at Arms of the school's Key Club. Scott was inducted into the Richard J. Reynolds High School Hall of Fame during a ceremony on February 6, 2015, which took place during the Reynolds/Mt. Tabor (the two high schools that Scott attended) basketball game.

He attended the University of North Carolina at Chapel Hill, where he was a member of Alpha Phi Alpha fraternity and was part of the on-air talent at WXYC. While at UNC, Scott also played wide receiver and defensive back on the football team. In 1987, Scott graduated from the UNC with a B.A. in speech communication. In 2001, Scott gave the commencement address at UNC where he implored graduates to celebrate diversity and recognize the power of communication.

Career

Following graduation, Scott worked as a news reporter and weekend sports anchor at WPDE-TV in Florence, South Carolina from 1987 until 1988. Scott came up with the phrase "as cool as the other side of the pillow" while working his first job at WPDE. After this, Scott worked as a news reporter at WRAL-TV 5 in Raleigh, North Carolina from 1988 until 1990. WRAL Sports anchor Jeff Gravley recalled there was a "natural bond" between Scott and the sports department. Gravley described his style as creative, gregarious and adding so much energy to the newsroom. Even after leaving, Scott still visited his former colleagues at WRAL and treated them like family.

From 1990 until 1993, Scott worked at WESH, an NBC affiliate in Orlando, Florida as a sports reporter and sports anchor. While at WESH, he met ESPN producer Gus Ramsey, who was beginning his own career. Ramsey said of Scott: "You knew the second he walked in the door that it was a pit stop, and that he was gonna be this big star somewhere someday. He went out and did a piece on the rodeo, and he nailed it just like he would nail the NBA Finals for ESPN." He earned first place honors from the Central Florida Press Club for a feature on rodeo.

ESPN

Al Jaffe, ESPN's vice president for talent, brought Scott to ESPN2 because they were looking for sportscasters who might appeal to a younger audience. Scott became one of the few African-American personalities who was not a former professional athlete. His first ESPN assignments were for SportsSmash, a short sportscast twice an hour on ESPN2's SportsNight program. After Keith Olbermann left SportsNight for ESPN's SportsCenter, Scott took his place in the anchor chair at SportsNight. After this, Scott was a regular on SportsCenter. At SportsCenter, Scott was frequently teamed with fellow anchors Steve Levy, Kenny Mayne, Dan Patrick, and most notably, Rich Eisen. Scott was a regular in the This is SportsCenter commercials.

In 2002, Scott was named studio host for the NBA on ESPN. He became lead host in 2008, when he also began at ABC in the same capacity for its NBA coverage, which included the NBA Finals. Additionally, Scott anchored SportsCenter's prime-time coverage from the site of NBA post-season games. From 1997 until 2014, he covered the league's finals. During the 1997 and 1998 NBA Finals, Scott did one-on-one interviews with Michael Jordan. When Monday Night Football moved to ESPN in 2006, Scott hosted on-site coverage, including Monday Night Countdown and post-game SportsCenter coverage. Scott previously appeared on NFL Primetime during the 1997 season, Monday Night Countdown from 2002 to 2005, and Sunday NFL Countdown from 1999 to 2001. Scott also covered the MLB playoffs and NCAA Final Four in 1995 for ESPN.

Scott appeared in each issue of ESPN the Magazine, with his Holla column. During his work at ESPN, he also interviewed Tiger Woods, Sammy Sosa, President Bill Clinton and President Barack Obama during the 2008 presidential campaign. As a part of the interview with President Barack Obama, Scott played in a one-on-one basketball game with the President. In 2004, per the request of U.S. troops, Scott and fellow SportsCenter co-anchors hosted a week of programs originating from Kuwait for ESPN's SportsCenter: Salute the Troops. He hosted a number of ESPN game and reality shows, including Stump the Schwab, Teammates, and Dream Job, and hosted David Blaine's Drowned Alive special. He hosted a special and only broadcast episode of America's Funniest Home Videos called AFV: The Sports Edition.

Style

While there were already successful African-American sportscasters, Scott blended hip-hop culture and sports in a way that had never been seen before on television. He talked in the same manner as fans would at home. ESPN director of news Vince Doria told ABC: "But Stuart spoke a much different language ... that appealed to a young demographic, particularly a young African-American demographic." Michael Wilbon wrote that Scott allowed his personality to infuse the coverage and his emotion to pour out.

Scott also integrated pop culture references into his reports. One commentator remembered his style: "he could go from evoking a Baptist preacher riffing during Sunday morning service ('Can I get a witness from the congregation?!'), to quoting Public Enemy frontman Chuck D ('Hear the drummer get WICKED!') In 1999, he was parodied on Saturday Night Live by Tim Meadows. Scott appeared in music videos with the rappers LL Cool J and Luke, and he was cited in "3 Peat", a Lil Wayne song that included the line: "Yeah, I got game like Stuart Scott, fresh out the ESPN shop." In a 2002 segment of NPR's On the Media, Scott revealed one approach to his anchoring duties: "Writing is better if it's kept simple. Every sentence doesn't need to have perfect noun/verb agreement. I've said 'ain't' on the air. Because I sometimes use 'ain't' when I'm talking."

As a result of his unique style, Scott and ESPN received a lot of hate mail from people who resented his color, his hip-hop style, or his generation. In a 2003 USA Today survey, Scott finished first in the question of which anchor should be voted off SportsCenter, but he also was second to Dan Patrick in the 'definitely keep him' voting. Jason Whitlock criticized Scott's use of Jay-Z's alternate nickname, "Jigga", at halftime of Monday Night Football as ridiculous and offensive. Scott never changed his style and ESPN stuck with him.

Catchphrases

Scott became well known for his use of catch phrases, following in the SportsCenter tradition begun by Dan Patrick and Keith Olbermann. He popularized the phrase booyah, which spread from sports into mainstream culture. Some of the catchphrases included:

"Boo-Yah!"

"Hallah"

"As cool as the other side of the pillow"

"He must be the bus driver cuz he was takin' him to school."

"Holla at a playa when you see him in the street!"

"Just call him butter 'cause he's on a roll"

"They Call Him the Windex Man 'Cause He's Always Cleaning the Glass"

"You Ain't Gotta Go Home, But You Gotta Get The Heck Outta Here."

"He Treats Him Like a Dog. Sit. Stay."

"And the Lord said you got to rise Up!"

"Make All the Kinfolk Proud ... Pookie, Ray Ray and Moesha"

"It's Your World, Kid ... The Rest of Us Are Still Paying Rent"

"Can I Get a Witness From the Congregation?"

"Doing It, Doing It, Doing It Well"

"See ... What Had Happened Was"

Legacy

ESPN president John Skipper said Scott's flair and style, which he used to talk about the athletes he was covering, "changed everything." Fellow ESPN Anchor, Stan Verrett, said he was a trailblazer: "not only because he was black – obviously black – but because of his style, his demeanor, his presentation. He did not shy away from the fact that he was a black man, and that allowed the rest of us who came along to just be ourselves." He became a role model for African-American sports journalists.

Personal life

Scott was married to Kimberly Scott from 1993 to 2007. They had two daughters together, Taelor and Sydni. Scott lived in Avon, Connecticut. At the time of his death, Scott was in a relationship with Kristin Spodobalski. During his Jimmy V Award speech, he told his teenage daughters: "Taelor and Sydni, I love you guys more than I will ever be able to express. You two are my heartbeat. I am standing on this stage here tonight because of you."

Eye injury

Scott was injured when he was hit in the face by a football during a New York Jets mini-camp on April 3, 2002, while filming a special for ESPN, a blow which damaged his cornea. He received surgery but afterwards suffered from ptosis, or drooping of the eyelid.

Appendectomy and cancer

After leaving Connecticut on a Sunday morning in 2007 for Monday Night Football in Pittsburgh, Scott had a stomachache. After the stomachache worsened, he went to the hospital instead of the game and later had his appendix removed. After testing the appendix, doctors learned that he had cancer. Two days later, he had surgery in New York that removed part of his colon and some of his lymph nodes near the appendix. After the surgery, they recommended preventive chemotherapy. By December, Scott—while undergoing chemotherapy—hosted Friday night ESPN NBA coverage and led the coverage of ABC's NBA Christmas Day studio show. Scott worked out while undergoing chemotherapy. Scott said of his experience with cancer at the time: "One of the coolest things about having cancer, and I know that sounds like an oxymoron, is meeting other people who've had to fight it. You have a bond. It's like a fraternity or sorority." When Scott returned to work and people knew of his cancer diagnosis, the well-wishers felt overbearing for him as he just wanted to talk about sports, not cancer.

The cancer returned in 2011, but it eventually went back into remission. He was again diagnosed with cancer on January 14, 2013. After chemo, Scott would do mixed martial arts and/or a P90X workout regimen. By 2014, he had undergone 58 infusions of chemotherapy and switched to chemotherapy pills. Scott also went under radiation and multiple surgeries as a part of his cancer treatment. Scott never wanted to know what stage of cancer he was in.

Jimmy V Award

On July 16, 2014, Scott was honored at the ESPY Awards, with the Jimmy V Award for his ongoing battle against cancer. He shared that he had 4 surgeries in 7 days in the week prior to his appearance, when he was suffering from liver complications and kidney failure. Scott told the audience, "When you die, it does not mean that you lose to cancer. You beat cancer by how you live, why you live, and in the manner in which you live." At the ESPYs, a video was also shown that included scenes of Scott from a clinic room at Johns Hopkins Hospital and other scenes from Scott's life fighting cancer. Scott ended the speech by calling his daughter up to the stage for a hug, "because I need one," and telling the audience to "have a great rest of your night, have a great rest of your life."

Death

On the morning of January 4, 2015, Scott died of cancer in his home in Avon, Connecticut, at the age of 49.

Tributes

ESPN announced: "Stuart Scott, a dedicated family man and one of ESPN's signature SportsCenter anchors, has died after a courageous and inspiring battle with cancer. He was 49." ESPN released a video obituary of Scott. Sports Illustrated called ESPN's video obituary a beautiful and moving tribute to a man who died "at the too-damn-young age of 49." Barack Obama paid tribute to Scott, saying:

I will miss Stuart Scott. Twenty years ago, Stuart helped usher in a new way to talk about our favorite teams and the day's best plays. For much of those twenty years, public service and campaigns have kept me from my family – but wherever I went, I could flip on the TV and Stu and his colleagues on SportsCenter were there. Over the years, he entertained us, and in the end, he inspired us – with courage and love. Michelle and I offer our thoughts and prayers to his family, friends, and colleagues.

A number of National Basketball Association athletes—current and former—paid tribute to Scott, including Stephen Curry, Carmelo Anthony, Kobe Bryant, Steve Nash, Jason Collins, Shaquille O'Neal, Magic Johnson, Dwyane Wade, LeBron James, Michael Jordan, Bruce Bowen, Dennis Rodman, James Worthy and others. A number of golfers paid tribute to Scott: Tiger Woods, Gary Player, David Duval, Lee Westwood, Blair O'Neal, Jane Park and others. Other athletes paid tribute including Robert Griffin III, Russell Wilson, Jon Lester, Lance Armstrong, Barry Sanders, J. J. Watt, David Ortiz and Sheryl Swoopes. UNC basketball coach Roy Williams called him a "hero." Arizona Cardinals head coach Bruce Arians said: "We lost a football game but we lost more this morning. I think one of the best members of the media I've ever dealt with, Stuart Scott, passed away."

Colleagues Hannah Storm and Rich Eisen gave on-air remembrances of Scott. On SportsCenter, Scott Van Pelt and Steve Levy said farewell to Scott and left a chair empty in his honor. Tom Jackson, Cris Carter, Chris Berman, Mike Ditka and Keyshawn Johnson from NFL Countdown shared their memories of Scott.

During Ernie Johnson, Jr.'s acceptance speech for his 2015 Sports Emmy Award for Best Studio Host, he gave his award to Scott's daughters, saying it "belongs with Stuart Scott". At the 67th Primetime Emmy Awards and at the 2015 ESPY Awards, Scott was included in the "in memoriam" segment, a rare honor for a sports broadcaster.

Filmography

He Got Game (1998)

Disney's The Kid (2000)

Drumline (2002)

Love Don't Cost A Thing (2003)

Mr. 3000 (2004)

Herbie: Fully Loaded (2005)

The Game Plan (2007)

Enchanted (2007)

Just Wright (2010)

Television

Arli$$ (2000)

I Love the '80s (2002)

Soul Food (2003)

She Spies (2005)

I Love the '70s (2003)

One on One (2004)

Stump the Schwab (2004–06)

Dream Job (2004)

Teammates (2005)

I Love the '90s (2004)

I Love the Holidays (2005)

I Love Toys (2006)

Black to the Future (2009)

Publications

Scott, Stuart; Platt, Larry (2015). Every Day I Fight. Blue Rider Press. ISBN 978-0-399-17406-3.

Wikipedia

#Stuart Scott #07-19 #01-04

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architectnews · 3 years ago

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"Everything changed in architecture" after 9/11 attacks says Daniel Libeskind

The terrorist attacks on New York's World Trade Center helped the public understand the importance of architecture, says the architect who masterplanned the rebuilding at Ground Zero as part of our 9/11 anniversary series.

Speaking to Dezeen in an exclusive interview, Polish-American architect Daniel Libeskind said that "everything changed in architecture" after the tragedy.

Prior to the attacks, he said, urban planning was largely done without public input. However, the attack on the Twin Towers revealed that big architectural projects "belong to citizens".

The Ground Zero site (above) was masterplanned by Daniel Libeskind (top). This photo is by Hufton + Crow

"I think that the impact [of 9/11] was on the whole world," he told Dezeen. "Everything changed in architecture after that. People were no longer willing to do it as before."

"It had an impact in the sense that people understood that big projects are not only for private development, they belong to citizens," he explained. "I think it gave people a sense that architecture is important."

On 11 September 2001, Al-Qaeda terrorists hijacked four commercial aircraft. Two were flown into the twin towers of the World Trade Center in Lower Manhattan, claiming 2,753 lives.

Another plane hit the Pentagon in Arlington, Virginia, while the fourth crashed into a field in Pennsylvania. The overall death toll of the four coordinated attacks was 2,996.

One World Trade Center by SOM was erected as part of the rebuilding. The photo is by Hufton + Crow

Two years after the attack, Libeskind won a competition to masterplan the 16-acre World Trade Center site.

His framework included a memorial and a museum to the tragedy, a transport hub plus a cluster of towers including a central "Freedom Tower" with the symbolic height of 1,776 feet, representing the year of America's independence.

However, Libeskind's Freedom Tower design was never built and instead One World Trade Center by SOM rose in its place.

Public participation became "much more important"

Libeskind attributes the fact that there was a design competition at all was due to public demand.

"There was no original competition at all for Ground Zero," he explained. "It was a port authority call for good ideas that they could use," he said, referring to the body that owns the World Trade Center site.

"It was the public that demanded what they saw, and luckily, [my idea] was the one that was in the eye of the public," he continued.

"The public said 'we want this project'...so the port authority was, in a way, forced by the public to implement something that originally was not part of their agenda."

Libeskind's original masterplan created a semi-circle of towers around a memorial

Libeskind said that this "showed the power of the public in determining the future of their cities".

"Planning is not a private business," he added. "It should be determined by a democratic voice of all the different interests, which includes developers and agents, the people, you know, all sorts of different constituencies."

"New York is about tall buildings"

Following the attacks, Libeskind said that some people thought that tall buildings would no longer be built in the city and that Lower Manhattan would fall into a state of decline.

"The mayor of New York, Rudy Giuliani, just wanted low buildings," recalled Libeskind.

"People said nobody will ever come back to downtown, companies will move to New Jersey, they'll move to Connecticut," he continued, "people don't want to be there anymore."

However, Libeskind felt differently, saying that "New York is about tall buildings" and "always has been".

He compared the aftermath of 9/11 to the coronavirus pandemic, which some people predict will lead to the demise of dense cities and office working.

"Today with a pandemic, people say the same thing," Libeskind said. "People will not work with offices anymore." But he believes that "people will always come" back to cities.

Site "belongs to all of us"

Reflecting on his work on the Ground Zero masterplan, Libeskind likened its challenges to designing a whole American city.

While reintroducing office skyscrapers and adding valuable real estate to the site, he decided to dedicate half of the land to public space to create a neighbourhood accessible to everyone, rather than to just office workers.

"My main goal in the masterplan was, first of all, to create a civic space, not to just be concerned with private investment, but to create a significant memorial, which brings people going to the site in an open social way," he said.

"This was a commercial site where every square inch is worth a lot of money," he explained. "But I felt that somehow it's not a piece of real estate anymore."

"It's something that belongs to all of us," he said.

A visual of 5 World Trade Center at Ground Zero, courtesy of KPF

The Ground Zero masterplan is yet to reach completion, with KPF's 5 World Trade Center next in line to break ground. However, Libeskind believes it has already achieved his aims.

Recalling the day that Ground Zero reopened to families of victims, he said: "I still remember the words people said to me: 'Thank you, you delivered what you promised'".

"After 20 years, it's not finished," he continued, "but it's pretty much what was intended to be and how lucky to have been part of this process."

Read on for an edited transcript of the interview.

Lizzie Crook: Could you reflect on your experience of working on the Ground Zero masterplan and tell me a little bit about how you approached the project?

Daniel Libeskind: Well, it was a very intense process, you know, which had so many participants. The city, the agency, the developers, the general public. It was an all-consuming process. And the only way one could do it was through a democratic process. It was not always difficult, it wasn't always easy.

It had its ups and downs, but it was always meaningful, and always... I had to be really passionate to stick to it, because the challenges were immense. Challenges were complex. So what can I say? Humbled to think of the scale of the project, but it was to pursue the work and try to work in the spirit of openness and that's what I did.

Lizzie Crook: So what were your main goals for the masterplan?

Daniel Libeskind: Well, my main goal in the masterplan was, first of all, to create a civic space, not to just be concerned with private investment, but to create a significant memorial, which brings people going to the site in an open social way. And to create as much public space as possible, which would then permit people to see the memorial as something that is crucial to the memory of the city.

But also to balance the needs of the development of over 10 million square feet of office density, with culture, and with pedestrian pleasures, and to balance memory, and the future in a very unique way.

So that was really the goal. And of course, to meet that incredible programme, which is almost like building a downtown or a whole American city, within 16 acres. But remember that, out of that 16-acre site, there are eight acres of public space, which is what my goal was. To create that sense that this is for New York, this is for people, and not only for people lucky enough to work with those offices.

Lizzie Crook: How did you prevent the site from becoming a sad space and instead make a vibrant neighbourhood?

Daniel Libeskind: It's a balance. You don't want to make New York into a sad city. You don't want to create something that is just mostly shadows and darkness. What you want to do is to create a public and social space, which speaks about the event but in a positive way.

And of course, to do that I went all the way down to the bedrock, the slurry wall, which supports the site and created a sense that this is not a two-dimensional space, that this is really a fully three-dimensional space where you can reach the place of tragedy, but also the place where you can see the rising of the foundations of New York, which still really support that site with the slurry wall.

And of course, to balance the streets, the big buildings that have hundreds of thousands of people working. There is no retail fronting the memorial. You have more quiet streets. And then of course on the other side, you have the noisy shopping streets of New York. So again on many different levels to create a composition, which stays true to what the spirit of New York is, which is a spirit of resilience, and the spirit of joy. That is, we are now in different life of this really spectacular new developmental memorial site.

Lizzie Crook: Do you think the Ground Zero masterplan has achieved its aims?

Daniel Libeskind: It definitely has achieved its aims because life has returned. After six o'clock, Wall Street was just a dark area, there was no retail there, no people living there. It was dead at night. The plaza of the Twin Towers was closed because it was too windy to walk through it.

So I created a sense of a neighbourhood by creating this composition of buildings, which are also symbolic elements, you know, the 1776-feet-tall tower number one, the fact that the buildings stood in a sort of stood in a spiral movement within the grid of New York that echos the torch of Liberty.

The fact that I brought water to the site, you know, the waterfalls, in order to really bring nature in to screen the busy streets and noise of downtown New York. Of course, exposing the slurry wall, which is no small achievement, to make people understand where they are, that this is the bedrock, this is where we are stood and where it stands still. Those are all the kind of elements.

The only anecdote that I can tell you is that when I came to the site, with all the finalist architects, many great architects, and we were on top of one of the skyscrapers next door, and somebody said, does anybody want to go to the site? I said, yes. I was the only one because we could see the site much better from a high rise office building. But I walked down there with my partner and wife Nina.

And really, my life changed as I walked down that route, 75 feet below the streets of New York. And when I touched the slurry wall, I realised really what the site was about, it wasn't about just nice buildings and traffic and all those important planning ideas, it was about deep memory.

I actually called my office, which was still in Berlin at the time, and I said, forget everything we've done, just put it in the garbage. Already a lot of models, drawings, simulations, and animations, you know, working with many experts on this project, I said, forget it.

Throw it out. It's not about that. It's about not building where the Twin Towers stood. Making it all really part of the public space of New York. And I'm really impressed how in a democratic process, this came to fruition. You know, nobody declared the site a sacred site. This was a commercial site where every square inch is worth a lot of money. But I felt that somehow it's not a piece of real estate anymore.

It's something that belongs to all of us. I was to work in a democracy, as fraught as it was, it was very fraught with many battles to fight, but I am really a great advocate and believer in democracy. I don't buy projects that are just from the top down but involve all sorts of interests. And I think it just shows that democracy does work.

Lizzie Crook: Reflecting on the event of 9/11 itself, how would you describe its impact on architecture in the US?

Daniel Libeskind: It had a huge impact in many ways. Number one, it had an impact in the sense that people understood that big projects are not only for private development, they belong to citizens. You know, I don't know what you know, the story, but the original, there was no original competition at all for Ground Zero.

It was a port authority call for good ideas that they could use, right. But it was the public that demanded what they saw, and luckily [my idea] was the one that was in the eye of the public. The public said 'we want this project' that's what we want. We don't want a typical port authority collage of ideas.

We want a project that has all these elements, symbolic elements, the great social public space, the grand memorial, the underground and so on. And so the port authority was, in a way, forced by the public to implement something that originally was not part of their agenda. So first of all, the competition showed the power of the public in determining the future of their cities. It also meant that subsequently, people in New York, were far more sensitive to what they could build, and how high should it be, and how can it respond to the context where people are living. So public participation became, I think, much, much more important than before.

Remember that Twin Towers were built without any public input, they were just sort of there. It was another era. So and also, I think it gave people a sense that architecture is important, that it is not business as usual. But architecture should have some ambition. Public space should have an ambition, it should not be just left to your technocrats and bureaucrats to determine the shape of the city.

By the way, I think the impact was on the whole world. Everything changed in architecture after that. People were no longer willing to do it as before. And I think that was sort of one of the focal points that this competition gave to the world that that architecture is important. Planning is not a private business, it should be determined by a democratic voice of all the different interests, which includes developers and agents, the people, you know, all sorts of different constituencies.

Of course, I started with their families by beginning with those who perished. I didn't start with the building, I started by speaking to people, the fathers and mothers, husbands and brothers, you know, that's what moved me. It was about people. And I think that's changed the idea that memories are important, that memory is not just an add on. But memory is a critical space in a city that must be preserved. Because without memory we would be built to a kind of amnesia.

Lizzie Crook: What was it like to speak to the families?

Daniel Libeskind: Oh my God. That was really very sad. As I said, I didn't start by going and measuring, you know, how many subway lines are necessary to go through the site, although that was part of my project, how to bring them together, and the train terminal and what to do with traffic, and how to bring the streets back.

I started with people and I spoke to them and I became friends with a number of people who lost loved ones. And I understood that this pain and this suffering is also part of the site because it happened on this ground in New York, in Manhattan. And I thought that the most important thing would be to bring the space back to focus in a positive sense, in terms of doing something that means something not just in terms of quantities or profits, but in terms of how people would feel.

And I'll never forget, a couple of people came over to me, he lost a son who was a fireman, one of the firefighters, and she lost her daughter who was a flight attendant on one of the aeroplanes. And they showed me a drawing that they had. I'll never forget the drawing, they unfolded a drawing, and I did not know what it was, it just had 1000s of little dots on it. Really, I didn't know what it was. And it was where body parts were on the site, literally hundreds of thousands.

From that time on, I realised I'm not going to treat the site... this is a site that in my mind is a spiritual sacred site, it cannot be just treated like any other site. And you cannot just build the buildings where they used to be. But I understood that. And I followed many of the families, and I was in contact with them throughout the process. And yeah, that really changed my part of it because it could have been any one of us. Who would have been in that building, either working there or delivering something or cleaning the floors or whatever. One could have been one of those 3000 people or so.

Lizzie Crook: Was there ever a feeling that 9/11 could have been the end of tall buildings?

Daniel Libeskind: Oh, yes. You know, the mayor of New York, Rudy Giuliani, just wanted low buildings. Forget it, you know, New York is a city of towers, it always has been, you know. People said after that attack, I remember, because our offices are right there, right, at the site. People said nobody will ever come back to downtown, companies will move to New Jersey, they'll move to Connecticut.

People don't want to be there anymore. It's that place. But no, it's New York, it's the spirit of New York, New York is about tall buildings. And by the way, New York has the luxury to build tall buildings. Because you know, it's a high-density city with transportation that brings people to work and to play, you know, all around.

By the way, today with a pandemic, people say the same thing. People will not work with offices anymore. Everybody will be home, it'd be remote working. But no, there's no doubt in my mind that New York, like all great cities, has its own traditions. And, you know, it's a kind of capital of the imagination and creativity and that's where people will always come and will do work and be there. Yeah, not for me, that's, you know, the suburban house with a lawn is going to replace the great powers of New York.

Lizzie Crook: How would you say 9/11 impacted skyscraper design?

Daniel Libeskind: Well, you know, one of my responsibilities [for the masterplan] was to write some new parameters for high rise buildings, to make them ecological, to introduce green technology to make sure that they minimise the carbon footprint. So it's not just the aesthetics of buildings, but really the sustainability of buildings, that is part of the buildings at Ground Zero.

And of course, that's a really huge step in a city like New York, to realise that these buildings can no longer be built, like in the old times, you know, wasteful of energy, they have to be smart buildings, they have to really be responsive to the crisis of ecology that we're going through. And we cannot afford to build buildings, like before. So that's a really, very, very much a part of it.

And by the way, you know, just as an added bonus, my parents were basically factory workers, and my father was a printer, right next to the site. And I always thought to myself, what could my parents get from this rebuilding? They never would be in those office towers. You know, they'd be on the subways, they'd be on the streets trying to work and feed their kids.

And I said, what can I give them? I can give them a sense of New York is beautiful, there is an open space or trees, there's water, there are beautiful vistas of the Hudson and the city. Council facilities, a cultural centre being built, there's a beautiful station to go to. So yes, even the symbolic elements. And of course, the northern corner has not yet been built, because it's tower number two. But I thought it would be simple to resonate with people like my parents who were just regular New Yorkers. That was part of how I thought about the site.

Lizzie Crook: Why do you think it is that people still want to build and live and work in skyscrapers?

Daniel Libeskind: Well, first of all, you know, if you don't want to consume more and more land, and keep building, out and out and out and reinforcing cars, you know, fossil fuels and so on, you have to build densely. That's why cities originated. Cities originated because people want to be together.

Everybody wants to be there to share, and improve themselves, get a better job, or learn something new. That's why people flock to cities, it's creativity. Cities have been carved, not by coincidence. The cities are probably the greatest inventions of humanity because people realise that being together, gives you something that you can never get by being, you know, in a monastery alone, somewhere far away.

So, because of that, and because of sustainability, we cannot consume land by building low buildings and eating up what's leftover of the nature we already managed to destroy. It's such a clear way. So it's a necessity. But also there's a magic to tall buildings, beyond the necessity, there is a sort of primordial sense of joy of being able to dominate the city or from a higher perspective.

Le Corbusier thought that the best floor to live on, buildings should not be really higher than the seventh floor because, you know, you're supposed to live on the streets. You're not in the sky. By the way, I live on the seventh floor! But the truth is that when you're in a high rise in a skyscraper, it's just so liberating in many ways. You're so... again, the mythology of being high, and the necessity of building high density, which means tall buildings. It's not about to disappear. We're not about to go backwards and you know live in three-storey houses, two-storey houses.

Lizzie Crook: What do you think architecture's role is in providing closure for victims and the families of victims of such tragic events such as 9/11?

Daniel Libeskind: Well, I think there's no doubt that architecture has a healing role. To build a beautiful space, a place where you can come to, which is a spiritual place, even in just a regular, you know, piece of the city.

But it's a spiritual space when you enter that space, you hear the waterfalls, you see that the buildings, that the great office towers really are far away from you, so that you're in the light, and not in the shadow of the towers, the towers are really of the periphery and form a horizon through which you can also the beauty of New York.

I think that provides a sense of place that, you know, you might not feel the sadness for people who lost loved ones, or the sadness of the attack that killed almost 3000 people, but you feel that there is a sense of integrity, a sense of reality, in the space, and the sense that the space speaks with its own voice.

And by the way, I don't know whether you noticed when Pope Francis came to New York, some years ago, to give his address to all religions, he chose the slurry wall, underground of the museum, to give his ecumenical message. He could have chosen Times Square, St. Patrick's Cathedral or Central Park. But I think the pope understood that this wall speaks through a world about threats, and also about liberties, about freedoms. And I think that was a very moving, moving moment when I was there.

Lizzie Crook: Are you still in touch at all with the families of the victims, or have you ever heard how they have received the site and what it means to them?

Daniel Libeskind: I can tell you that when Ground Zero first opened, when it was completed, it was completed, tower number one and so on. They invited only the families, not the public, and I was there. And so many people came to me, you know, I was anonymous, I was just walking, because they knew me from you know, pictures or they knew who I was, to thank me.

And I still remember the words people said to me: 'thank you, you delivered what you promised. What you said actually happened'. And so of course, you know, I'm a New Yorker, I live and work right next to the site like many people from that era. And I'm glad you know, before the pandemic, this is one of the most visited sites, over 20 million people come through here.

So it's one of the most visited sites, even by New Yorkers. Many people that I met said to me, you know, I live in Brooklyn, or I live uptown, and they never wanted to come back to the site, because it's such a terrible memory. And now that I came to it, it's so great. I feel so much better when I came back to it. So even sometimes New Yorkers were traumatised not to come back to the site. But people have flocked back.

And it's really, I think, a space that is attractive, that has a lot of segments of the city and of memory and also the future, because before we got set, there is all the construction, we are now building tower number five, a residential building, which is fantastic because I always thought that the programme did not contain housing.

But I always thought that that's the kind of site would be that people would live there. And so now, the fifth tower is a beautiful tower that will be also affordable, much of it will be affordable housing, which is so important. So, yeah, this is, of course, it's a site that is evolving, it's not yet finished. After 20 years, it's not finished, but it's pretty much what was intended to be and how lucky to have been part of this process.

Lizzie Crook: What does the success of the site say about the resilience of New York and New Yorkers?

Daniel Libeskind: Well, I think this place, prior to the catastrophe and prior to rebuilding, you know, lower Manhattan was not exactly a cool place to be in. It was, you know, dark skyscrapers after six.

And now, it's really one of the most exciting neighbourhoods, you know, a lot of new housing has been built. Hotels, a lot of retail, schools, a lot of people have moved to the site, a lot of great office buildings have been transformed to residential towers. So it's really, you know, it's now in a new neighbourhood, lower Manhattan is like, one of the coolest, if not the coolest neighbourhood in all of New York, for the next 30 years. So it's really, more than building skyscrapers and more than just building facilities, it's creating a space that could act as a magnet for people to live there. And, of course, by coincidence that people want to live there because there is a sense of a centre of social space that will only increase the time. I'm so lucky to live there.

Lizzie Crook: What were your main lessons or final reflections from working on this project?

Daniel Libeskind: Well, in my view, I always thought there were so many cynics and sceptics about this project. You know, they said, oh, it's gonna be all compromise, and it's all this and it's all that.

But in the end, you know, I am not impressed by the mega projects made by totalitarians. I'm impressed by what a democracy can accomplish with its kind of intense discussion, its disagreements, its strong opinions. And of course, there's no city that has stronger opinions than New York, you know these rough sort of voices. And yet in the end, the fact that this project is so much... the project that I drew the beginning, my first drawing, my intent, that the fact it was to navigate through these complex waters of a democracy shows that first of all democracy is not easy.

But it shows that democracy is the only system worth working in. And that's really my reflection because it's real, you know, what is built in the democratic spirit becomes real. The Twin Towers were never that real because they were a Robert Moses kind of planning, where nobody really participated.

The highways that were built around New York by Robert Moses, but this is something that sort of reinforced my belief that, however difficult the process was, and it was, and however many, you know, conflicts that were at the end, you know, it delivered something, which I'm very proud of, and I think the developers are proud of it.

People who are working there are proud of it, the people who suffered, the loss of their families are proud of it. People who just come by it, who are now living there, you know, it's become a part of the city. I mean, that's really, the greatest indication of working certainly could become part of a true reality and not sort of something artificial.

9/11 anniversary

This article is part of Dezeen's 9/11 anniversary series marking the 20th anniversary of the terrorist attack on the World Trade Center.

The portrait of Libeskind is by Stefan Ruiz.

The post "Everything changed in architecture" after 9/11 attacks says Daniel Libeskind appeared first on Dezeen.

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