#museum director derek

[sunnie-angel]

whenever you get the chance, i would LOVE to hear your thoughts on new queer cinema, and your fave movies in the category <3

oooh oooh okay! so new queer cinema describes queer film making during the late 1980s - early 1990s. these films are a direct response to the aids epidemic and are meant to be unapologetically queer and confrontational. you cannot separate these films from the aids epidemic. they challenge narrative, film form, normative ideas about society.

they're meant to be provocative! they were created in a social context of survival, where there was the very real risk that silence would mean the deaths of thousands of people because the prevailing attitudes ranged from indifference to outright glee at the death tolls. they're also joyful! if you've heard of camp, a lot of these films are the definition of it (and they'll give you a good idea of just how badly most of the met gala attendees fumbled that theme a few years ago).

these are a few of my favourites:

Zero Patience (1993): one of the first AIDS musical and delightfully campy. sir richard burton (author of 1001 Nights and creator of an insane theory that people living closer to the equator are gay because of the heat) accidentally became immortal and now works at a museum. he starts creating an exhibit on AIDS and the ghost of gaetan dugas - the flight attendant falsely accused of bringing AIDS to north america - haunts him.

Tongues Untied (1989): directed by marlon riggs, this experimental documentary address the reality of being a black man in america, the hypersexual commodification of black bodies, and the way that homophobia plays out in the context of race. it's very honest and defiant in the face of systematic oppression, celebrating black queer desire.

Paris is Burning (1991): possibly one of the most well known nqc films, documenting the new york ball scene of the early 90s. there's been some controversy about narrative ownership (since the director was not part of the community she filmed) but its an important record of queer history.

The Living End (1992): sometimes called the gay thelma & louise, two men with AIDS go on a cross country roadtrip. along the way their clashing ideologies of respectability vs unashamed defiance come to a critical point.

and these are a few that are on my watchlist:

The Watermelon Woman (1996): directed by cheryl dunye, this film blends reality and fiction as a fictional cheryl goes searching for a actress that played 'mammy' roles in the 1930s, a woman that turns out to be a lesbian named fae richards.

Edward II (1991): you've heard of straight washing? this is the opposite of that. an interpretation of christopher marlowe's play, director derek jarman goes out of his way to highlight the queerness of edward's relationship with piers gaveston. features jarman's frequent collaborator tilda swinton.

Poison (1991): one of todd haynes' more experimental movies, three stories of people violently ostracized by their communities build on themes of marginality, desire, and illness. considered one of the representational movies of the movement. i've actually seen this once, but the image was completely unsynced with the audio so i feel like i haven't actually seen it.

[quotesfrommyreading]

Yet supertalls not only ascend; they also sway, flutter, vibrate, bend, and lean. Often a lot. Chicago’s Willis Tower—which is more than 50 feet taller than 432 Park—can move up to three feet in strong winds. If you were to look down at the spire of a tall building during a windstorm, you’d see that it careens left, right, and around, like an inebriated giraffe.

All of that motion can cause people to feel a little drunk themselves. Occupants of tall buildings have, in high winds, reported nausea, distractibility, difficulty working, and fatigue, though researchers report that skyscrapers “rarely, if ever, induce vomiting.” As winds howl, buildings can moan like creaky container ships, or clatter like subway cars. “No Realtor would ever give a potential tenant a handbook that explains how these buildings behave, because they wouldn’t buy them, probably,” says Peter Weismantle, the director of supertall-building technology for Adrian Smith + Gordon Gill Architecture, which designed Central Park Tower.

And yet some motion is safe and normal, and often goes unnoticed. In fact, evolving approaches to handling high winds are a big reason contemporary supertalls have gotten to be so numerous, and so thin.

Tall buildings get celebrated as gravity-defying, but it’s their defiance of the wind that should inspire awe. Imagine a strong wind blowing south over Central Park. The wind hits the supertall and pushes it backwards into a lean, then causes the structure to sway as the gust picks up and dies down. Wind can get stronger at higher altitudes and intensify as it whips off neighboring high-rises, so what registers as a gentle breeze on the fifth floor may give way to howling on the 45th. Wind barreling around the supertall creates turbulent eddies on the building’s exterior that cause the structure to wag from side to side. These are the accelerations that tenants are most likely to perceive, and slender supertalls are even more susceptible to them.

Developers know they cannot control the wind. What they can do—and this is an industry term—is confuse it. For this, they recruit a wind-whisperer like Derek Kelly. Kelly, an engineer with the consulting firm RWDI, is a garrulous Canadian who, when I asked about superslims, told me the company has worked on “almost every building you see out your window.”

Take 432 Park. Once the developer had an early design for the new tower, Kelly began by making the proposed supertall—a solid, skinny, square column—super small. Kelly and his colleagues 3-D-printed a knee-high model of the building, and stuck it into a miniature Midtown Manhattan, complete with dozens of neighboring high-rises that can affect the windscape at 432 Park’s site. They put the model buildings on a turntable inside a wind tunnel, then subjected them to smoke and powerful fans. RWDI adjusted the wind tunnel’s settings to mimic Manhattan’s gusts and rotated the tiny neighborhood in 10-degree increments to get a baseline measurement of how the proposed supertall would sway, absorb winds careening off other structures, and shift the wind around it—all of which remains too complex to accurately predict with algorithms, Kelly said.

Even a 10-story building will move, and most of us can handle our homes wiggling about five milli gs (a measure of acceleration) in any direction. Early tests on 432 Park’s prototype revealed poor aerodynamic performance. Rafael Viñoly, 432 Park’s architect, said in a 2014 lecture at the Skyscraper Museum that tests on one version of the building revealed the supertall would dance 30 milli-gs—just shy of the threshold found to “cause some occupants to lose balance,” according to research published in the International Journal of High-Rise Buildings. “If you’re standing here, your cup of tea moves,” Viñoly said at the lecture, rocking his lectern back and forth to demonstrate. He called the experience of 30 milli gs “absolutely frightening.”

When problems like these arise, Kelly brings the developer and the design team to RWDI’s wind tunnel for a “shaping workshop.” Architects and engineers tweak the shape of their supertall, 3-D-print new versions, then put each one in the wind tunnel to see how much it moves. “For some of these buildings in New York,” Kelly said, “we’ve done 12, 16 versions in an afternoon.”

The decorative flourishes on a supertall that seem ornamental can be key to diffusing the suction-filled whirlpools that sway a building as wind whips around its sides. You could notch the corners, like on Taipei 101, which resembles a towering stack of gifts. You could twist the building, like the Twizzler-esque Shanghai Tower. You could taper it to look like the tip of a paintbrush, like the Lakhta Center, or cut out sections to let wind blow through it, like the Shanghai World Financial Center, which is nicknamed “The Bottle Opener.” 432 Park’s designers decided to make it more porous: Every 12 stories, there are two “blow through” floors with cutouts for windows, but no glass.

But can you comfortably host a dinner party on a blustery evening? To try to experience for themselves how hospitable 432 Park would be, Viñoly and his colleagues traveled to the Marine Institute in Newfoundland to be jostled around inside its simulator—a 20-ton steel ship’s bridge mounted on hydraulic pistons and surrounded by screens. Typically, ships’ crews use the simulator to practice for encounters with icebergs and roiling seas, but for the past 15 years, the institute has hosted supertall designers who want to double-check their work before they build. On these occasions, the institute covers up the nautical instruments, projects a city skyline on the screens, lugs in a forest-green sofa, puts water-filled glasses on a wooden kitchen table, and hangs a glass chandelier. Once the supertall’s team of designers settles in, the room starts rocking and rolling to mimic what tenants will feel on a windy day, during a strong gale, or during a once-a-century hurricane. At 432 Park, the blow-through floors alone wouldn’t settle the building, so the developers ultimately installed two tuned mass dampers—a pair of 600-ton counterweights between the 86th and 89th floors that can move 11 feet, to offset the supertall’s sway.

That’s the goal, anyway. New cars and planes go through rigorous testing before hitting the assembly line, but each supertall is essentially a prototype. “We’re going into production on one-offs every single time with the hopes that we get it right,” the structural engineer Stephen DeSimone told me. If you could crawl out over the side of 432 Park and look down at the facade during a windstorm, “you’d have not one but two heart attacks. Because the thing does move,” Viñoly said in his 2014 lecture. “Don’t tell the tenants that.”

  —  The Marvels—And Mistakes—Of Supertall Skyscrapers

[kamreadsandrecs]

To this day, too few buyers take the time and have the competence to check the legal status of what is on offer. This is a problem, I have learned, affecting collectors of all kinds, from wealthy clients of Christie’s and Sotheby’s down to less affluent buyers through eBay. Consumers think that if antiquities are openly for sale, especially through famous auction houses, they must be legal and their provenance “impeccable”—an adjective that antiquities dealers employ profusely in their sloppy catalogs. But this is far from true. In fact, the Greens ended up with acquisition problems from all kinds of sources, from Christie’s to shady eBay shops and Dirk Obbink, an academic turned dealer, too. As expert in antiquities laws Derek Fincham puts it, “if one were to devise a badly flawed market, one would be hard-pressed to surpass the antiquities trade.” There are legal antiquities, which can be exchanged on the market, but there are far more illegal ones that find their way much too easily into the market, polluting it. And this is not to mention the forgeries, fakes, and artfully restored or misattributed material that inundate the trade. Thomas Hoving, the influential director of the Metropolitan Museum of Art from 1967 to 1977, recalled that a good 40 percent of what he was offered during his career “were either phonies or so hypocritically restored or so misattributed that they were just the same as forgeries.” We can easily say that if percentages have changed since then, it is on the plus side.

-- from Stolen Fragments: Black Markets, Bad Faith, and the Illicit Trade in Ancient Artefacts by Roberta Mazza

[grumpygirlblog]

Political movements through social media... hashtags... videos... faces...How are they important?

On May 25, 2020, a man lost his life on accord to police brutality. His name is George Floyd. The officers were called on Floyd as he was accused of using a counterfeit $20 bill.

This call led to his death.

Officer Derek Chauvin knelt on George Floyd's neck for over nine minutes while George pleaded for his life. This was captured in a video by a woman named Darnella Frazier. If it were not for her and her phone, this case might not have received the justice deserved. The officer's plea was different from the real story - the story that was captured on video.

Darnella Frazier received a Pulitzer Prize award for her act of courage, and it is well deserved. In a situation where one feels helpless, when the people you thought were meant to help you are literally killing you, it makes sense to freeze or not know how to act. However, Frazier jumped to action and documented this crime. She gathered the evidence to provide justice.

I honestly do not know how I would have responded in a similar situation, which makes Frazier's act even more critical. It doesn't sound like something many civilians would do. But civilians need to document things. It is the most important way to stand up against corruption, in this instance, the police.

Images I took during a BLM protest in West Palm Beach, Florida, 2020.

I remember these moments very vividly. I had never been surrounded by more people filled with intense, passionate emotions about the same issue. I felt energy encased in love that swarmed the air. Everyone was to help, and everyone was to care for everyone. It is heartbreaking to see these acts of resistance framed in a violent light. We just want our voices to be heard, to be cared for, to care for others. I am incredibly privileged that I can use my voice to advocate for individuals, even when the issues faced do not directly pertain to me as a white woman. These issues affect everyone, myself included because a world without peace for all is not a world worth living in.

TIANA DAY:

Tiana Day is an activist and advocate for social justice. She is known primarily for her work fighting against police brutality and systemic racism. She gained recognition through her involvement in various movements, such as:

Youth Advocates For Change. Founder & Executive Director. Jun 2020 - Present.

Urban Peace Movement. Intern. Oct 2021 - Jun 2022.

BLM 2020 - Present.

She uses her gained traction to highlight the experiences of marginalized communities. She educates students, encouraging "innovative and engaging outlets" to promote progressive thinking and behavior through journalism and social activism. She is an example of a strong woman figure using her knowledge to educate and speak to many groups, encouraging and fighting for change.

Breonna Taylor, by Amy Sherald.

After the brutal killing of Taylor, Amy Sherald created a piece for the National Museum of African American History and Culture. Sherald made this piece in response to the uproar in violence against women and police brutality. She painted Taylor as the face of this movement. There was great intention behind each decision made in this piece.

"Before what would become her first posthumous portrait, Sherald spent time speaking with Taylor’s mother, Tamika Palmer, and learned of Taylor’s interest in fashion. As a result, Sherald commissioned a Black female designer to create the dress for the portrait. " - NMAAHC

She maintained Taylors strong image with her bold sense of fashion and color schemes. It is also important to note that Sherald included an engagement ring on Taylor's finger as a memento for the love Breonna and her partner, Kenneth Walker, shared. She continued to humanize Breonna even after her death, unlike the policemen who dehumanized Taylor's living soul.

[ulkaralakbarova]

In Venice Beach, naive Midwesterner JB bonds with local slacker KG and they form the rock band Tenacious D. Setting out to become the world’s greatest band is no easy feat, so they set out to steal what could be the answer to their prayers… a magical guitar pick housed in a rock-and-roll museum some 300 miles away. Credits: TheMovieDb. Film Cast: JB: Jack Black KG: Kyle Gass Lee: JR Reed Dio: Ronnie James Dio Open Mic Host: Paul F. Tompkins Lil’ JB: Troy Gentile Security Guard: Ned Bellamy Security Guard: Fred Armisen Car Chase Cop / Gang Leader: Kirk Ward Truck Stop Waitress: Amy Poehler The Stranger: Tim Robbins Satan: Dave Grohl Guitar Center Guy: Ben Stiller Girl: Lara Everly Girl: Brittany Eldridge Girl: Melissa-Anne Davenport Gang Member: John Ennis Gang Member: V.J. Foster Gang Member: Jay Johnston Drunk Frat Dude: Colin Hanks Al’s Bar Waitress: Stephanie Erb Gorgeous Woman: Amy Adams Tattooed Biker: Milos Milicevic Ecstatic Woman: Molly Bryant Poopy Guy: Michael Rivkin Stand Up Comic: Gregg Turkington Exploding Head Guy: Patrick M. Walsh Fainting Woman: Bevin Kaye KG’s Mother: Evie Peck Young KG: Mason Knight Bully: Erik Walker Betty Black: Cynthia Ettinger Billy Black: Andrew Lewis Caldwell Tarot Card Reader: Laura Milligan Frat Boy #1 (uncredited): Jason Segel Bud Black (uncredited): Meat Loaf Sasquatch (uncredited): John C. Reilly Film Crew: Casting: Jeanne McCarthy Executive Producer: Georgia Kacandes Songs: Jack Black Stunts: Jack Gill Executive Producer: Ben Stiller Original Music Composer: John King Makeup Designer: Barney Burman Second Unit Director of Photography: Paul Hughen Supervising Sound Editor: Elmo Weber Stunt Double: Cole S. McKay Visual Effects Supervisor: David D. Johnson Casting: Juel Bestrop Executive Producer: Cale Boyter Stunts: Mic Rodgers Songs: Kyle Gass Writer: Liam Lynch Producer: Stuart Cornfeld Editor: David Rennie Executive Producer: Toby Emmerich Executive In Charge Of Production: Erik Holmberg Second Assistant Director: Heather Grierson Production Design: Martin Whist Sound Effects Editor: Derek Vanderhorst Director of Photography: Robert Brinkmann Executive Producer: Richard Brener Original Music Composer: Andrew Gross Second Unit Director: Rick Avery Supervising Sound Editor: David Bach First Assistant Director: Milos Milicevic Stunts: Doug Coleman Stunts: Tim Trella Stunt Driver: Angelique Midthunder Art Department Coordinator: Mike Piccirillo Stunts: Robert Chapin Set Decoration: Don Diers Costume Designer: Dayna Pink Stunts: Terry Jackson Stunt Double: John Ashker Special Effects Makeup Artist: Toni G Stunts: Tom Elliott Special Effects Makeup Artist: Justin Stafford Special Effects Makeup Artist: Mike Smithson Stunt Double: Rick Miller Stunts: Larry Rippenkroeger Stunts: Sean Graham Art Direction: Maria Baker Stunts: Ian Quinn Script Supervisor: Pamela Alch Stunts: Brian Machleit Sound Effects Editor: Clayton Weber Still Photographer: Zade Rosenthal Stunts: Frank Torres Aerial Director of Photography: David B. Nowell Hair Department Head: Linda D. Flowers Key Hair Stylist: Merribelle Anderson Makeup Artist: Ralis Kahn Hairstylist: Yeşim “Shimmy” Osman Sound Effects Editor: Marc Glassman Visual Effects: Brent M. Bowen Camera Operator: Michael FitzMaurice Sound Effects Editor: Orada Jusatayanond Costume Supervisor: Hope Slepak Stunts: Dean Bailey Stunts: Eliza Coleman Makeup Department Head: Kate Shorter Stunt Coordinator: Scotty Richards Production Supervisor: Ralph Bertelle First Assistant Camera: Thomas Vandermillen Stunt Coordinator: Brian Avery Visual Effects: John Coats Stunts: Kevin Abercrombie Special Effects Makeup Artist: Scott Stoddard Stunts: Joni Avery Stunt Driver: Ed McDermott II Special Effects Makeup Artist: Michael Marino Second Second Assistant Director: Velvet Andrews-Smith Steadicam Operator: Jon Myers Stunt Driver: Jody Hart Stunts: Roger Richman Second Second Assistant Director: Ivan Kraljević Stunts: Danny Wynands Stunts: Jeff Brockton Stunt Double: Tad Griffith Stunts: Buck McDancer Special Effects Coordinator: Andy Weder Stunt...

[mediaonedesign]

Mediaonedesign.com - Philadelphia Georgia Bulldogs Eagles logo shirt

Buy this shirt:  Click here to buy this Mediaonedesign.com - Philadelphia Georgia Bulldogs Eagles logo shirt

The 2023 Met Gala livestream will begin at 6 p.m. EST. Need a reminder? You can sign up to receive an alert when the Philadelphia Georgia Bulldogs Eagles logo shirt moreover I love this livestream starts. Vogue’s daily newsletter will provide updates from the red carpet, livestream access, plus top fashion stories and celebrity style. This year, the 2023 Met Gala livestream will be hosted by actor and producer La La Anthony, writer Derek Blasberg, and actor, comedian, and Saturday Night Live cast member Chloe Fineman. Internet multi hyphenate Emma Chamberlain, meanwhile, will return as Vogue’s special correspondent. “Karl Lagerfeld A Line of Beauty, on view at The Metropolitan Museum of Art from May 5 to July 16. The annual Met Gala provides the Costume Institute with its primary source of funding for exhibitions, publications, acquisitions, operations, and capital improvements. The exhibition will serve as an homage to Lagerfeld’s unparalleled contributions to the world of fashion. “One thing I knew for certain is that we could not do a traditional retrospective, Andrew Bolton, the Costume Institute’s Wendy Yu Curator in Charge, told Vogue back in September. “For one thing, I think Karl would have hated that. Even though one of his facets was that he was a historicist, and he would revisit themes in his work, he was always looking to the future in his own work—he hated looking back at the past.

Yes The dress code for this year’s Met Gala will be “in honor of Karl. Considering the Philadelphia Georgia Bulldogs Eagles logo shirt moreover I love this late designer headed up many different luxury fashion houses throughout his career—including Balmain, Patou, Chloé, Fendi, Chanel, and his own Karl Lagerfeld brand—it’s safe to say there’s a rich variety of silhouettes, collections, and concepts for guests to draw inspiration from. The 2023 Met Gala’s official co chairs are Michaela Coel, Penélope Cruz, Roger Federer, Dua Lipa, and Anna Wintour. A larger than life figure whose career spanned seven decades, Karl Lagerfeld had many friends in fashion—and beyond. His work and legacy will be celebrated and examined in the Metropolitan Museum of Art’s Costume Institute “Karl Lagerfeld A Line of Beauty as well as at the Met Gala (the dress code is “in honor of Karl). While we can expect many tributes to Lagerfeld on the steps of the Met, but ahead of that Vogue asked some of his friends and collaborators to remember him. Oscar winning director Sofia Coppola, for instance, remembered interning for Lagerfeld during the Chanel couture shows. “I will always remember the big bouquets of beautiful roses he gave all the interns at the end of the show, that made us feel so special. Lagerfeld was a mentor to many, including Silvia Venturini Fendi and Claudia Schiffer. The latter remembered, “he transformed me from a shy German girl into a supermodel. Below, read tributes from more of Lagerfeld’s inner circle, including Tom Ford, Willow Smith, and Amanda Harlech.

Home: Click here to visit Mediaonedesign.com

[chisom-n]

St. Croix Day 17: Part 2

Today we piled into Herman and Ishmael and hurried on over to the sleepy city of Frederiksted on the West Coast of the island. We were greeted by our lovely tour guide, Robin, and after listening to her personal and family story about living on the island, she took us to Fort Frederik. Inside the fort, there were various rooms that had mini-museum exhibits inside. My favorite was one room dedicated to the Moko Jumbies, having several sculptures of Jumbies and samples of their clothes throughout the years. There were also exhibits on furniture, sea glass, and military history. It’s so interesting that St. Croix has these iconic forts, but they were never actually used for defending the island from oceanic invaders; instead, they were mainly used for storing things like gunpowder and prisoners. After this, we did not get too far throughout the city of Frederiksted because we had a special talent for sidetracking Robin, and she had plenty of things to say about things like education, representation, and sustainability on the island. I particularly liked Robin’s saying that the people of Frederiksted are quiet until they aren’t anymore. She backed this up with examples of social and environmental injustices that afflicted the city and how the people of the town mobilized against those practices. We closed off the tour by stopping at the cultural conservation building, where we heard from one of the directors about how the history of the island is still seen today.

We then had a moment to split off from the group and enjoy lunch. I myself went to Polly’s with Caleb, Jackson, Caroline, and Eli, where I enjoyed a bagel and egg sandwich and a pink lemonade. Others went to a recommended vegetarian place.

We then met up at the Art Exhibit in Frederiksted, where we had the opportunity to speak with some of the artists and the exhibitor and learn more about the over 190 artists that are supported there. There were some really cool pieces there. I really liked a mahogany driftwood that was carved into a bust of one of the queens of Fireburn. The driftwood originated from one of the recent hurricanes, so it was really special to see this intersection of environment and history.

Afterwards, we went to Sandy Point beach while some others went snorkeling at the pier. We relaxed here and watched the sun set—unfortunately no green flash, but the clouds really worked hard to get us a beautiful view tonight. Some other highlights from this beach trip include walking with Carly, Chisom, and Jack to a rocky intertidal zone, where we saw tons of snails, crabs, fish, urchins, and anemones.

Stay tuned for more updates on our journeys through St. Croix! We have one more week of work and play, and we’re

hoping to keep the momentum going!

- Derek Wu

[celestialvoid-fanfiction]

Sterek museum AU where Derek Hale is the director of the Beacon Hills Museum and the local expert in the fields of anthology and archaeology. 

Stiles is the enthusiastic college student who visits the museum almost every other day, studying among the exhibits and looking for job openings.

Derek dismisses him at first, but then one day, Stiles accidentally leaves his study notes at the museum and Derek finds then when he’s doing a final sweep of the museum. Curious about what Stiles is studying and why he’s so intent on being at the museum, he takes a look inside and finds a mix of notes from entomology to archaeology. All the notes are really in depth, colour coded and at a level of study that should be beyond a college student. He hates to admit it, but he’s impressed.

The next day, Stiles comes bustling in and Derek is waiting for him at the front desk. 

“I don’t know about job offers,” Derek says, offering Stiles back his thick book of study notes. “But if you’re looking for a supervisor for your dissertation, I’d be happy to take you on.” 

[pansexualflowr]

Queer artist, poet, writer and filmmaker Derek Jarman’s notebooks as he worked on developing his final film, ‘Blue’, displayed at the Tate Modern.

[a-simple-gaywitch]

The Boss’s Sister

Emily Prentiss x Hotchner!Reader

Summary: Aaron Hotchner has a  younger sister. And Emily is completely enamored by her.

Word Count: 4160

Warnings: Foyett and Doyle plotlines, angst but a happy ending

“It is more important to click with people than to click the shutter.” -Alfred Eisenstaedt 

~

Heels clicked against the floor of the BAU, catching the team’s attention.

“Uh, excuse me,” you said to JJ, “is Aaron Hotchner in?”

“Um, yeah. Yeah, he should be in his office. It’s the first one when you go up the stairs.”

“Thank you.” As you went up to Hotch’s office, the team looked around at each other. When they saw Hotch smile and hug you, they started theorizing. 

“Okay, who is she?” JJ asked. “I mean, obviously Hotch knows her.”

“An old friend, maybe?” Spencer offered. 

“I don’t know, he seems pretty close to her. And his divorce did just get finalized,” Prentiss suggested. 

“You don’t think…”

“I don’t know, Garcia. He doesn’t really share his life with us.”

“You know, children,” Rossi said, walking up to the cluster of FBI agents, “it’s not polite to gossip.” The group mumbled their apologies. “You know, instead of theorizing about who she could be, why don’t you just ask Hotch?”

~

Meanwhile, you and Aaron were casually observing his team. 

“So, you think they’re speculating about me?”

“Oh, definitely,” Aaron laughed. “What are you doing here, (Y/N)?”

“What, I can’t visit my big brother on the rare occasion he’s home when I get a D.C. assignment?”

“No, you can. I just didn’t expect it.”

“That’s the point of a surprise, dum-dum.”

Aaron shook his head. “You’re ridiculous. So, should I introduce you to my team, make them stop gossiping?”

“Yeah, let’s go,” you said. “I’d love to meet your work-family.”

~

“Guys, this is my sister, (Y/N),” Hotch introduced you to the team.

While the team muttered in understanding, Rossi held his hand out to you. “It’s nice to see you again, (Y/N).”

“You too, Dave,” you said with a smile. 

“So, what are you doing in town?” he asked you. 

“Work assignment.”

“Ooh, what do you do?” a blonde woman in a brightly colored dress asked you. 

“That’s Garcia,” Aaron told you. 

“Thanks. I’m a photographer. I travel around the world and take pictures for museums, art galleries, zoos, places like that.”

“Have we seen any of your stuff?” the man your brother introduced as Dr. Reid asked you. 

“Remember when the San Diego Zoo had that baby otter a few months ago? Those were my pictures.”

“Aw, those were so cute!” Garcia said. “I looked at those pictures when we were working on a really icky case.”

“What are you working on now?” Agent Jareau asked you. 

“Oh, the National Gallery of Art has a new exhibit they want me to get shots of.”

“That’s so cool!”

“You know, maybe when you’re done taking pictures for a tourist destination, I can show you some local spots,” Derek Morgan said. 

You laughed. “Sorry, Hotshot, I don’t swing that way.” Your phone beeped. “Oh, I gotta run. My assistant just landed with my equipment.” You kissed your brother’s cheek. “Hey, don’t forget, Aaron, dinner tonight. The only way you’re getting out of this is if you’re halfway across the country.”

“Yeah, okay. Get out of here,” he told you. “Susanna’s gonna get impatient.”

“Right. Bye, guys! It was great to meet you!”

After you left, the team turned to Hotch. 

“So, you have a sister, too?” Morgan asked. 

“Yep, and she shot you down,” Prentiss laughed. 

“Hey, can you blame a guy for trying?”

“Morgan, she was wearing a flannel buttoned all the way up and heeled Doc Martens. I thought you were a profiler.”

“Hey, JJ,” Garcia said, “remember when we met Sean and I thought Hotch might be adopted?”

“Yeah?”

“I definitely still think that.”

“Okay, ha-ha,” Hotch said. “No, I’m not adopted, yes my sister is gay. Now get back to work.”

~

“Ms. Hotchner,” the director of the museum said, holding his hand out to you. “Thank you for coming.”

“Mr. Campbell,” you said with a smile, shaking his hand. “Thank you for having me here. This is my assistant, Susanna Van Horn.”

Susanna shifted the bags with your various lenses around and shook the man’s hand. “Hello, sir.”

“I trust you have some good pictures?”

“Yes, sir. My office should have them to you in two weeks’ time.”

“Wonderful, wonderful. I am very eager to put these Wain paintings on our website.”

“Well, I will send these back to the office as soon as I get back to my hotel room.”

“Uh, (Y/N)?” Susanna said, her voice wavering. 

“Speaking of, we should get back. Poor Sue here looks like she’s about to collapse.”

When you got back to the hotel room, Susanna dropped your various bags on lenses on her bed. She groaned and flopped onto your bed. 

“Hey, at least you can overnight the bags to Philly now,” you told the girl. “One of the interns at the office can pick them up from the airport.”

“Yeah. I’m gonna take a hot bath, my shoulders are killing me. Have fun at dinner.”

“Thanks, Sue,” you said, grabbing your bag and swinging it over your shoulder.

~

“There’s my big brother,” you said when Aaron finally got to the restaurant. You got up from your reserved table to hug him. “How was work?”

He sat down across from you and shrugged. “Not as bad as it could have been. How was the shoot?”

“Pretty simple,” you told him, picking up the menu in front of you. “We’re heading back tomorrow morning. You want an appetizer, A?”

“You know, I’m not really all that hungry.”

You set the menu down on the table. “Aaron, I swear to god, you are going to eat a decent meal if I have to force-feed you and you will have leftovers to take home with you.”

“Okay, okay,” Aaron said, holding his hands up in surrender. “I’ll get something.”

“Good. And I’m paying, whether you like it or not.”

“Why are you really here, (Y/N)?” he asked you. “And don’t say it’s for work. They could have sent anyone to D.C., but they sent you.”

You sighed. “Aaron, it doesn’t take an FBI profiler to know you’re not okay with this split. You’ve been in love with Haley since you were in high school.”

“That doesn’t answer the question.”

“Look, you were there for me during the worst moments of my life. The least I can do is be here for you now.” You smiled at him. “Is solace anywhere more comforting than that in the arms of a sister?”

“That’s from Alice Walker,” he said. “But she’s right. I am glad you’re here.”

“You know I’m always going to be here for you, Aaron. That’s what family is for.”

A waiter walked over to your table. “Hi, I’m Brian, I’ll be your server this evening. Can I start you off with anything to drink?”

~

“So, how was your dinner last night?” Rossi asked as the team gathered in the conference room. “How’s (Y/N)?”

“Well, she and three other people in her company are up for a big promotion.”

“Wow, that’s great. She deserves it, her shots are amazing.”

“Yeah, it comes with a huge raise, and she wouldn’t have to travel as much, or as often.”

“Well, wish her luck for me,” Rossi said as he and Hotch took their seats at the Round Table. “What’ve we got, JJ?”

“Small town in Texas.”

~

It was about three in the morning when your hotel’s phone started ringing. You groaned and picked up the receiver. 

“Hello?” As soon as you heard the voice on the other end, you sat up quickly. “Oh-oh my god! Oh, my god, okay, I’m- I’ll get on the next flight out of here. I’ll be there as soon as possible.” You threw the phone back on the table and started shoving your belongings back into your suitcase. 

“What’s going on?” Susanna asked, sitting up and rubbing her eyes. 

“I have to go to D.C.,” you said, zipping up your carry-on. “My brother’s in the hospital.”

“What?”

“Aaron’s in the hospital. I have to go.”

You raced to the airport and ran over to the American Airlines booth. 

“Do you have any open flights to D.C.?” You panted, adjusting the bag on your shoulder. 

The woman tapped on the keys in front of her. “There’s one leaving in about 45 minutes,” she said, her southern accent strong.

“Great. How much for a last-minute ticket?”

“$2500.”

You sighed and pulled out your work credit cards. “Can you split it between these three? I also have frequent flyer miles.”

“Alright.” She took your cards and typed the numbers into her computer. “I just need to see your passport.”

You pulled the book out of your carry-on and set it on the counter. She printed out your boarding pass and you made your way to the gate. When you finally boarded the plane, you were beyond anxious. When the plane finally landed and you finally got to the hospital, you ran over to the receptionist. 

“I’m here to see Aaron Hotchner. What room is he in?”

“I’m sorry, ma’am, we’re only letting family see him.”

“I’m his sister, I-”

“(Y/N)?”

You spun around. “Agent Prentiss!”

“Please, just Emily,” she said, walking over to you. “Did you just get here?”

“Yeah. How’s Aaron?” You took the visitor’s badge the receptionist had made you upon realizing you were telling the truth. 

“He’s resting,” she said. “Come on, I’ll take you to him.”

You followed Emily up to Aaron’s room. When you saw him lying on the bed, tubes and wires attached to him, you sank into the chair by the bed. 

“Do you know what happened?”

“We’re piecing it together. We know who it was, but we don’t know where to find him.”

~

You stayed at Aaron’s side until he woke up. You smiled at him when he registered where he was. 

“Hey, dum-dum.”

“What are you doing here? I thought you were in Greece.”

“I was. But your husband called me and told me what happened.”

Aaron huffed. “You don’t have to stay, you know.”

“I know. And I don’t have to stay on your couch until the doctor clears you, but I’m going to.” Aaron laughed quietly and you reached out to squeeze his hand. “I’m gonna go grab a coffee, okay? I’ll be back soon.” You got up from the chair and headed to find the coffee machine. While walking down the hallway, you ran into Haley. 

“Haley, Jack!” you said, running over and hugging your ex-sister-in-law and your nephew.

“How is he?” Haley asked you when you let go, her eyes shining with tears. 

“He’ll be fine. He’s gonna be out of work for a few weeks, but he’s alive and he’s still our Type- A Aaron. I’m gonna go find some coffee, go see him. I’m sure seeing you and Jack would make him feel so much better.” You ruffled your nephew’s hair and gave Haley another hug before continuing towards the waiting room. 

The big red Out of Order sign on the coffee machine tanked your mood almost immediately. 

“Oh, goddamn it.”

“You alright?” Emily asked, coming to stand next to you. 

You sighed. “I’m running on less than five hours of sleep plus jetlag. Add that to the stress of my brother almost dying, I was really hoping for a damn coffee.”

“Well, maybe I could take you for one,” she offered. “Or, you know, if you don’t want coffee I could take you to dinner.”

You turned to her, a small smile gracing your face. “Agent Prentiss, are you asking your boss’s little sister out on a date?”

“Maybe I am,” she said, smiling back at you. 

“Well, seeing as how I have over 15 hours of cab, plane, and hospital on me, I’ll take that dinner offer.”

When you got back to Aaron’s room, he squinted at you. “What happened?”

“What do you mean?”

“Why are you suddenly all smiley and giddy?”

“What, I can’t be happy to see my nephew and my sister-in-law?”

“Well, I’m glad you got to see them,” he said. “Because that’s the last time you will until we catch this man.”

~

You stood around Haley’s casket, holding Jack while Aaron talked about Haley. When he was done, he took Jack from your arms while you stepped up. 

You cleared your throat. “Many of you know me, I’m , uh, I’m Aaron’s younger sister. I-I remember when Aaron first met Haley. But that’s not what I wanted to talk about today. I want to tell you the story of the first time I really met Haley. I was in high school, Aaron was already in his own apartment in college. I, um, I came out to our father and he didn’t take it so well. I ran to Aaron’s apartment because I knew he’d be there for me. But when I got there, I was obviously interrupting a date between him and Haley. I expected them both to be annoyed that I interrupted them, but Haley…” You cleared a lump from your throat. “When she saw how upset I was, she pushed Aaron out of the way and pulled me onto the couch with her. She told me that I should never feel ashamed for loving who I love, and that she’d always be there for me.” You brushed away a tear that fell. “She treated me like I was her own sister. She became the big sister I never had.”

Aaron pulled you into his side and kissed the top of your head. The guests went through and placed their roses on the glossy coffin before heading to the church for the reception. 

“Aaron,” you said, “go. Go be with your team. I got Jack.”

“You sure?”

“Yeah. Don’t worry, I’ll make sure he eats,” you promised. “Go.”

“I’m not hungry,” Jack told you. 

“You’re not hungry?” He shook his head. You squatted down to his level. “Well, how about this: I’ll give you a cookie first, but you have to eat at least half a sandwich after, okay? It’ll be our little secret,” you said, booping his nose. You grabbed a cookie from the desert table behind you and made a show of looking for Aaron. “Just between Jack and Aunt (Y/N).” When Jack accepted the cookie, you sighed in relief and pushed yourself back up. 

~

You and Haley’s sister, Jessica, were helping Aaron unpack Jack’s belongings and placing them in the apartment. You could tell something was on your brother’s mind. You finished folding the shirt you were holding and tucked it in the drawer before turning to Aaron. 

“Okay. Out with it. What’s going on?”

“What are you talking about?”

“You have the scowl brow again. You usually reserve that for work. What’s wrong?”

Aaron sighed and stopped digging through the box of Jack’s belongings. “The bureau is offering me retirement.”

“But you don’t know if you’d be able to deal with it.”

“Yeah. I know I should take it because Jack needs me here but-”

“What if I move to D.C.?” you offered.

“(Y/N)-” 

“I can call Gabriel and get a job here, one where I don’t have to travel. Jess and I can watch Jack while you’re away on cases,” you said, nodding to Haley’s sister. 

“Yeah, we can alternate who takes care of him while you’re with the team,” Jessica said. “I live a few blocks over, it’s not like I’d be uprooting my life.”

“And I may have more than one reason to stay in D.C.,” you admitted. 

Aaron raised an eyebrow at you before saying, “Are you sure you guys would be okay with it?”

“Aaron, we wouldn’t be offering if we didn’t mean it,” Jessica said. “You’re family. Family supports family.”

Aaron smiled before turning to you, pointing an accusing finger. “And you. What is this other reason you have?”

You shrugged, picking up more of Jack’s clothes. “I may or may not have met someone.”

“Oh, really? And who is this someone?”

“Oh, just some beautiful, raven-haired goddess,” you said, nonchalantly folding your nephew’s clothing. 

Aaron scrutinized you. “Who is she?”

“Mmm, not sure I’m ready to tell you,” you said. 

“What? Why not?”

“Because you’ll overreact,” you said. 

“Oh, come on, no I won’t!”

“Aaron.”

He sighed. “Fine. Keep your secrets. I’ll just figure it out on my own.”

~

The team was in Wyoming, and you were at Aaron’s apartment with Jack. Your nephew started falling asleep next to you on the couch. 

“Jack, why don’t you go get ready for bed?” you said. The boy sat up and rubbed his tired eyes. “Go get in your pjs and brush your teeth, okay?”

“Can you read me another chapter of Narnia?” he asked you. 

“Sure, buddy,” you said. After he ran off to brush his teeth, your phone rang. 

“Hello?”

“Hey, it’s me. Is Jack still up?” Aaron asked on the other end. 

“Yeah, I just sent him to brush his teeth. Do you want to tell him goodnight? Hey, Jack!”

After Aaron talked to Jack and the boy went to bed, your phone rang again. You smiled when you saw the caller I.D.

“Hey, beautiful,” you said. “How’s the case going?”

“Didn’t you just talk to Hotch?” Emily asked you.

“Well, yeah, but I don’t like talking to him about that stuff. I like hearing your voice.”

You could almost hear Emily’s smile. “Hopefully this case can wrap up soon. I miss you.”

“I miss you too.”

She sighed. “I have to go. Rossi found something.”

“Oh. Okay. I’ll see you when you get back,” you said before saying goodbye to Emily. 

Emily tucked her phone back in her pocket and walked over to Rossi. 

“So, when are you going to tell Hotch you’re dating (Y/N)?”

“Um, never,” Emily said. 

“You really think you can keep it a secret, Emily?”

“How would I even start that conversation, Rossi?” she asked. “Hey, Hotch, you know the little sister you’re super overprotective of? Well, we’ve been dating for a few months.”

Unfortunately for Emily, Hotch was just within earshot of the conversation. He was about to interrupt when Rossi asked Emily an important question. 

“Well, do you see it going anywhere, or are the two of you just fooling around?”

Emily shook her head. “No, we’re not just messing around. I love her.”

“Then why are you so scared to tell Hotch?”

“Because I haven’t told her I love her yet.”

That was all Aaron needed to hear. He wouldn’t bring it up until you and Emily were ready to tell him. He was just glad to know who it was making his baby sister so happy. And he was glad it was someone he liked and trusted. 

~

Emily was acting strange. She was keeping to herself and avoiding your calls. You knew it wasn’t because of a case, because Aaron was home. After two weeks of your girlfriend avoiding you, you decided to talk to your brother. 

“Hey, Aaron?” you said to him while the two of you were preparing snacks for movie night with Jack. “Um, I need to talk to you about something.”

“What’s going on? Is everything okay?” he asked you, setting the bowl of popcorn down on the counter.

“Um, I’m not sure,” you said, fidgeting with the dish towel on the counter. “Um, you know the woman I’ve been seeing? Well, it’s-it’s Emily.”

Aaron smiled at you. “I know.”

“What?”

“What, you thought you could keep a secret from me? I’m not just a profiler, (Y/N), I’m your big brother.”

“Right. Well, um, she’s been- she’s been acting weird lately. She’s been avoiding my calls and leaving me on read. Did something happen on a case?”

“I don’t think so,” Aaron said. “Do you want me to talk to her?”

You shook your head. “No. No, I just…” You sighed. “I’m probably overreacting. Let’s just enjoy Finding Nemo with Jack.”

~

“She didn’t even make it off the table.”

The words shook you to your core. You collapsed into the couch behind you, covering your face in your hands as you started to sob. Aaron sat down next to you and pulled you close, rubbing your shoulder while your body shook. 

You were there long after everyone else had left, Aaron still sitting by your side. 

“I never got to tell her I love her,” you whispered, your voice hoarse from crying. 

~

In the months following Emily’s death, your mental health entered a steep decline. You rarely left your apartment, only leaving for work and to pick Jack up from school when it was your turn to watch him. 

On one of your days off, you were sitting on your couch, blankly staring at the television. There was a knock on your door before it opened. Jessica and Jack came in, your nephew running over to you. He jumped up on the couch and wrapped his arms around your neck as Jessica sat next to you. 

“What are you guys doing here?” you asked. 

“We just wanted to check in on you,” Jess said. 

“You wanted to check on me, or Aaron asked you to check on me?”

“I wanted to check on you,” Jess said. “I’ve been worried about you.”

Since Haley’s death, you and Jess grew closer. The two of you became like sisters, like you had been with Haley. 

You sighed. “I’m the same as yesterday, the same as tomorrow. The same I’ve been since I woke up in a world without Emily.”

“Oh, sweetheart.” Jess pulled you into a hug, Jack squeezing you too.

“I don’t like when you’re sad, Aunt (Y/N),” Jack told you. “It makes me sad.”

“Well, maybe we can do something to help cheer (Y/N) up,” Jess suggested. 

“Ice cream!”

You couldn’t help the smile that crept onto your face. “You’re a smart boy, you know that, Jack?”

~

Your eyes had to be playing tricks on you. It was your prolonged grief messing with your head. That was the only explanation. That was the only way Emily could be standing in the bullpen. Alive. 

You dropped the bag in your hand, causing the team to turn around. It was definitely Emily. Emily was alive. 

“(Y/N),” Emily said, her smile dazzling.

“Em-Emily,” you said. “You’re- how are you- we buried you.”

“(Y/N), we can explain,” Aaron said. “We had to tell you she-”

“You-you knew? You knew she was alive and you never told me?” You just about shrieked, pointing at your older brother.

“(Y/N)-”

“Don’t!” you said. “There’s nothing you can say, Aaron. You lied to me. You let me be miserable for months.” You turned on your heel and stormed out of the BAU. 

Emily started after you and Aaron made to follow her, but Rossi stopped him. “Aaron, don’t. You’ll overwhelm her. She just found out her girlfriend didn’t actually die. Let her work it out in her own time.”

~

The knock on your apartment door didn’t help your anger at all. 

“Go away, Aaron!” you yelled. 

“It’s not Aaron.”

You walked over to your door and opened it to see Emily. Your shoulders relaxed. “Oh. Hi.”

“Hey. Are you okay?” Emily asked you. 

You shrugged, opening the door more for her to come in. “I don’t know,” you admitted. “Angry, confused. Mostly angry,” you said.

“I’m so sorry, (Y/N),” Emily said. 

“I’m not mad at you, Em,” you told her. “I’m mad at Aaron. He knew how miserable I was for months, and never once did he tell me the truth. Never once did he say, ‘Hey, (Y/N), you know how the love of your life was brutally murdered? Well, she’s actually still alive.’ And it’s not like he didn’t have the opportunity. I spent more time with him and Jack in the aftermath than I did in my own home.”

“Don’t be mad at Hotch,” Emily said. “He was only doing what I told him to.”

“What?”

Emily sighed. “If Doyle knew I was still alive, he would have come after you. And I couldn’t- I couldn’t live in a world without you in it.”

“And you thought I could? Emily-”

“No, I knew you’d be upset, but I thought you’d move on.”

“How could I? I love you, Emily. When I thought I lost you, I lost myself.” You looked down at your hands, trying to hold back tears. 

Emily tipped your head back up to meet her eyes. “There wasn’t a day I didn’t think about you,” she said. “Actually, you were probably the only thing I thought about.” She wiped away one of your tears with her thumb. “And believe me, I’m never leaving you again. I love you, (Y/N) Hotchner.”

“And I love you, Emily Prentiss.”

~

“I fell in love with her courage, her sincerity, and her flaming self-respect.” -F. Scott Fitzgerald

[whitesunlars]

Watching the new League of Their Own series and I can’t stop thinking about the incredible internship COVID took from me:

Summer 2020 I was supposed to intern at the Baseball Hall of Fame in their collections department working with Penny Marshall’s personal collection (director of league of their own movie and MASSIVE Yankees fan with a huge collection) because she had recently passed and donated all of it to the museum. PLUS it was the summer Derek Jeter, the REASON I am a baseball fan, was going to be installed in the hall of fame. So literally I was going to be working with my dream collection and meet my dream celebrity and COVID ruined it.

[colin-therightstuff]

NASA 'hallowed ground' sets the stage for NatGeo's 'The Right Stuff'

October 5, 2020

— Launch Complex 5 at the Cape Canaveral Air Force Station has stood dormant for almost 60 years. It has been nearly as long since Hangar S supported NASA's human spaceflight program. And it was a decade ago Mercury Mission Control was demolished. But come Friday (Oct. 9), all three historic facilities will return to their former glory in "The Right Stuff," National Geographic's new series streaming on Disney+. Through a combination of recreations, computer graphics and unprecedented on-site access, "The Right Stuff" provides the stage for Tom Wolfe's written account of the original Mercury 7 astronauts to lift off again, this time for the small screen. "It was one of those lifelong things, doing a show set in real history," said production designer Derek Hill, whose previous work on the Netflix drama "Ozark" earned him two Emmy nominations. "We had to create Hangar S and all of the other stuff that goes along with the space program." "My agent likes to say I'm a world builder," Hill said, standing at the center of a sound stage in Orlando, Florida, during a press visit last fall. "I think of the bigger picture rather than the small things and that's why all of this is laid out here." Behind Hill is a life-size, operational recreation of the MASTIF (Multiple Axis Space Test Inertia Facility), the gimbal rig used to train the Mercury astronauts — or as Hill described it, "this triangle craziness that gets the astronauts sick." In front of him is a small control station and a simplified Mercury capsule. "This is the capsule simulator," said Hill. "They act like they are flying and then we gimbal it ... it's the closest thing to that."

Nearby on another stage are set pieces for the interiors of other facilities, not just at the Cape, but at NASA's Langley Research Center in Virginia, too. Hill and his team built everything from John Glenn's home and the office for Robert Gilruth, the head of the Space Task Group. There is also nurse Dee O'Hara's infirmary and the Mercury astronauts' crew quarters. In total, there were about 35 different sets spread across two stages. Key among them was Mercury Mission Control. "That was just amazing," Robert Yowell, a former space shuttle flight controller who served as a technical advisor for "The Right Stuff," said in an interview with collectSPACE. "I was not old enough to be there at the time to witness what it was like, but thanks to some archival film I was able to provide the set designers, the producers, directors and even the actors a look at [flight director] Chris Kraft and his team in the control center on May 5, 1961, showing what it was like during Alan Shepard's flight and that helped greatly." The Cape Canaveral building that housed the real Mercury Mission Control was destroyed in 2010 due environmental concerns. The original consoles were moved to the nearby Kennedy Space Center Visitor Complex, where they are on display. If the mission control set rivals the original, though, "The Right Stuff" achieved an even higher degree of authenticity with the blockhouse from where the first two Mercury missions were launched. That is because the scenes were filmed in the actual reinforced bunker, still configured as it was 60 years ago. "The Air Force cooperated greatly with us and I believe we are first production ever to film in that blockhouse," said Yowell. "We were allowed to have it look as it did that day, right down to that thick glass that provides that green tint. It was just a wonderful touch to those scenes because it really does give you a sense of being there. You are there because this was not a made up set, it is the real thing." The same is true for one of the opening moments in the first episode. After Glenn (Patrick J. Adams) and Shepard (Jake McDorman) share a meal in a scene filmed on one of Hill's sound stage sets in Orlando, Shepard heads outside. "I had chills sitting there late at night, right about a year ago at this time, where we filmed that," said Yowell, referring to the actual Launch Complex 5, where the real Shepard lifted off for space. "It was fantastic because we were sitting and filming on hallowed ground. We were right there at the very pad where history happened and to be able to recreate that in the same spot was amazing." A visual effects team was needed to recreate the long-gone gantry that afforded access to the Mercury capsule, but the cast and crew had a full-size reference for the booster below it. "We had for that shot, no kidding, the real, true-scale Redstone that is sitting there today. It's a replica that's sitting there as part of the Air Force Museum," Yowell said. "Watching it be filmed that night, with the fog machine going and the lighting as it was, it was if I was transported back to 1961."

Colin O'Donoghue, portraying astronaut Gordon Cooper, films with a Mercury spacecraft mockup for National Geographic's "The Right Stuff." The series' recreated MASTIF, or gimbal rig, can be seen in the background on the Orlando, Florida sound stage. (Disney+)

Hangar S, NASA's original Manned Spacecraft Center building, comes back to life on a sound stage in Orlando, Florida, during filming for National Geographic's "The Right Stuff." (Disney+)

National Geographic's "The Right Stuff" recreated the simulator that was used to train the Mercury astronauts. (Disney+)

Eric Ladin, on right as Chris Kraft, Patrick Fischler, on left as Bob Gilruth and Michael Trotter, at center as Gus Grissom, film inside the recreated Mercury Mission Control for National Geographic's "The Right Stuff." (Disney+)

Inside NASA's Mercury Mission Control, as recreated by the production designers working on National Geographic's "The Right Stuff." (Disney+)

Inside the Launch Complex 5 blockhouse at the Cape Canaveral Air Force Station in Florida. National Geographic was granted permission to film inside the original reinforced bunker from where the first Mercury missions were launched in 1961. (Disney+)

[arcticdementor]

I love NYC. When I first moved to NYC it was a dream come true. Every corner was like a theater production happening right in front of me. So much personality, so many stories.

Every subculture I loved was in NYC. I could play chess all day and night. I could go to comedy clubs. I could start any type of business. I could meet people. I had family, friends, opportunities. No matter what happened to me, NYC was a net I could fall back on and bounce back up.

Now it's completely dead. "But NYC always always bounces back." No. Not this time. "But NYC is the center of the financial universe. Opportunities will flourish here again." Not this time.

"NYC has experienced worse". No it hasn't.

…

Three of the most important reasons to move to NYC:

- business opportunities

- culture

- food

…

Midtown Manhattan, the center of business in NYC, is empty. Even though people can go back to work, famous office buildings like the Time Life skyscraper is still 90% empty. Businesses realized that they don't need their employees at the office.

In fact, they realize they are even more productive without everyone back to the office. The Time Life building can handle 8,000 workers. Now it maybe has 500 workers back.

…

"What do you mean?" a friend of mine said to me when I told him 'Midtown should be called 'Ghost Town', "I'm in my office right now!"

"What are you doing there?"

"Packing up," he said and laughed, "I'm shutting it down." He works in the entertainment business.

Another friend of mine works at a major investment bank as a managing director. Before the pandemic he was at the office every day, sometimes working from 6am to 10pm.

Now he lives in Phoenix, Arizona. "As of June," he told me, "I had never even been to Phoenix." And then he moved there. He does all his meetings on Zoom.

I was talking to a book editor who has been out of the city since early March. "We've been all working fine. I'm not sure why we would need to go back to the office."

One friend of mine, Derek Halpern, was convinced he'd stay. He put up a Facebook post the other day saying he might be changing his mind.

…

People say, "NYC has been through worse" or "NYC has always come back."

No and no.

First, when has NYC been through worse?

Even in the 1970s, and through the 80s, when NYC was going bankrupt, and even when it was the crime capital of the US or close to it, it was still the capital of the business world (meaning: it was the primary place young people would go to build wealth and find opportunity), it was culturally on top of its game - home to artists, theater, media, advertising, publishing, and it was probably the food capital of the US.

…

In early March, many people (not me), left NYC when they felt it would provide safety from the virus and they no longer needed to go to work and all the restaurants were closed. People figured, "I'll get out for a month or two and then come back."

They are all still gone.

And then in June, during rioting and looting a second wave of NYC-ers (this time me) left. I have kids. Nothing was wrong with the protests but I was a little nervous when I saw videos of rioters after curfew trying to break into my building.

…

…

Summary: Businesses are remote and they aren't returning to the office. And it's a death spiral: the longer offices remain empty, the longer they will remain empty.

In 2005, a hedge fund manager was visiting my office and said, "In Manhattan you practically trip over opportunities in the street."

Now the streets are empty.

…

I co-own a comedy club, Standup NY, on 78th and Broadway. I'm very very proud of the club and grateful to my fellow owners Dani Zoldan and Gabe Waldman and our manager Jon Boreamayo. It's a great club. It's been around since 1986 and before that it was a theater.

One time, Henry Winkler stopped by to come on my podcast. He was the one who told me it had been a theater.

He said, "I grew up two doors down from here and used to perform in here as a kid. Then I went out to LA to be the Fonz and now I'm back here, full circle, to be on your podcast. This place has history." Things like that happen in NYC.

…

I love the club. Before the pandemic I would perform there throughout the week in addition to many other clubs around the city and in the past few months, clubs in: Chicago, Denver, San Jose, LA, Cincinnati, all over the Netherlands, and other places.

I miss it.

…

That said, we have no idea when we will open. Nobody has any idea. And the longer we close, the less chance we will ever reopen profitably.

Broadway is closed until at least the Spring. Lincoln Center is closed. All the museums are closed.

Forget about the tens of thousands of jobs lost in these cultural centers. Forget even about the millions of dollars of tourist and tourist-generated revenues lost by the closing of these centers.

There are thousands of performers, producers, artists, and the entire ecosystem of art, theater, production, curation, that surrounds these cultural centers. People who have worked all of their lives for the right to be able to perform even once on Broadway whose lives and careers have been put on hold.

I get it. There was a pandemic.

But the question now is: what happens next? And, given the uncertainty (since there is no known answer), and given the fact that people, cities, economies, loathe uncertainty, we simply don't know the answer and that's a bad thing for New York City.

…

My favorite restaurant is closed for good. Ok, let's go to my second favorite. Closed for good. Third favorite, closed for good.

I thought the PPP was supposed to help. No? What about emergency relief? No. Stimulus checks? Unemployment? No and no. Ok, my fourth favorite, or what about that place I always ordered delivery from? No and no.

Around Late May I took walks and saw that many places were boarded up. Ok, I thought, because the protesting was leading to looting and the restaurants were protecting themselves. They'll be ok.

Looking closer I'd see the signs. For Lease. For Rent. For whatever.

Before the pandemic, the average restaurant had only 16 days of cash on hand. Some had more (McDonalds), and some had less (the local mom-and-pop Greek diner).

Yelp estimates that 60% of restaurants around the United States have closed.

My guess is more than 60% will be closed in New York City but who knows.

Someone said to me, "Well, people will want to come in now and start their own restaurants! There is less competition."

I don't think you understand how restaurants work.

…

If the restaurants are no longer clustered, fewer people go out to eat (they are on the fence about where so they elect to stay home). Restaurants breed more restaurants.

And again, what happens to all the employees who work at these restaurants? They are gone. They left New York City. Where did they go? I know a lot of people who went to Maine, Vermont, Tennessee, upstate, Indiana, etc - back to live with their parents or live with friends or live cheaper. They are gone and gone for good.

And what person wakes up today and says, "I can't wait to set up a pizza place in the location where 100,000 other pizza places just closed down." People are going to wait awhile and see. They want to make sure the virus is gone, or there's a vaccine, or there's a profitable business model.

Or...even worse.

…

If building owners and landlords lose their prime tenants (the store fronts on the bottom floor, the offices on the middle floors, the well-to-do on the top floors, etc) then they go out of business.

And what happens when they go out of business?

Nothing actually. And that's the bad news.

People who would have rented or bought say, "Hmmm, everyone is saying NYC is heading back to the 1970s, so even though prices might be 50% lower than they were a year ago, I think I will wait a bit more. Better safe than sorry!"

And then with everyone waiting... prices go down. So people see prices go down and they say, "Good thing I waited. But what happens if I wait even more!" And they wait and then prices go down more.

This is called a deflationary spiral. People wait. Prices go down. Nobody really wins. Because the landlords or owners go broke. Less money gets spent on the city. Nobody moves in so there is no motion in the markets. And people already owning in the area and can afford to hang on, have to wait longer for a return of restaurants, services, etc that they were used to.

Well, will prices go down low enough everyone buys?

Answer: Maybe. Maybe not. Some people can afford to hang on but not afford to sell. So they wait. Other people will go bankrupt and there will be litigation, which creates other problems for real estate in the area. And the big borrowers and lenders may need a bailout of some sort or face mass bankruptcy. Who knows what will happen?

…

I lived three blocks from Ground Zero on 9/11. Downtown, where I lived, was destroyed, but it came roaring back within two years. Such sadness and hardship and then quickly that area became the most attractive area in New York.

And in 2008/2009, much suffering during the Great Recession, again much hardship, but things came roaring back.

But...this time it's different. You're never supposed to say that but this time it's true. If you believe this time is no different, that NYC is resilient, etc I hope you're right.

I don't benefit from saying any of this. I love NYC. I was born there. I've lived there forever. I STILL live there. I love everything about NYC. I want 2019 back.

But this time it's different.

One reason: bandwidth.

In 2008, average bandwidth speeds were 3 megabits per second. That's not enough for a Zoom meeting with reliable video quality. Now, it's over 20 megabits per second. That's more than enough for high quality video.

There's a before and after. BEFORE: no remote work. AFTER: everyone can remote work.

…

Everyone has spent the past five months adapting to a new lifestyle. Nobody wants to fly across the country for a two hour meeting when you can do it just as well on Zoom. I can go see "live comedy" on Zoom. I can take classes from the best teachers in the world for almost free online as opposed to paying $70,000 a year for a limited number of teachers who may or may not be good.

Everyone has choices now. You can live in the music capital of Nashville, you can live in the "next Silicon Valley" of Austin. You can live in your hometown in the middle of wherever. And you can be just as productive, make the same salary, have higher quality of life with a cheaper cost to live.

…

Wait for events and conferences and even meetings and maybe even office spaces to start happening in virtual realities once everyone is spread out from midtown Manhattan to all over the country.

The quality of restaurants will start to go up in all the second and then third tier cities as talent and skill flow to the places that can quickly make use of them.

Ditto for cultural events.

And then people will ask, "wait a second - I was paying over 16% in state and city taxes and these other states and cities have little to no taxes? And I don't have to deal with all the other headaches of NYC?"

Because there are headaches in NYC. Lots of them. It's just we sweep them under the table because so much else has been good there.

NYC has a $9 billion deficit. A billion more than the Mayor thought they were going to have. How does a city pay back its debts? The main way is aid from the state. But the state deficit just went bonkers. Then is taxes. But if 900,000 estimated jobs are lost in NYC and tens of thousands of businesses, then that means less taxes unless taxes are raised.

…

What reason will people have to go back to NYC? 

[jennymanrique]

Three California Republicans share views on future of GOP

Members of the Republican Party in California share their views on why they believe they offer the best representation for ethnic Americans.

In an overwhelmingly blue state where according to the California Public Policy Institute, the majority of African American, Latino, and AAPI voters are Democrats, Republicans flipped four districts in the last congressional election with minority candidates.

According to the new faces, their agendas seek to “raise the conservative voices” of minorities, and find “bipartisan consensus” to legislate.

“The Republican Party for me, is not the great old party, but the great opportunity party,” said Young Kim, US representative to the CA 39th District, which includes Los Angeles, San Bernardino and Orange County, one of the most diverse districts in the country where Joe Biden won by 10 points.

“Asian Americans should not automatically be considered as members of the Democratic Party. We have our voices, we have our shared values, we have our conservative views.”

Kim is an immigrant from South Korea, mother of four children, and one of four Korean-Americans who were sworn into the 117th Congress. She is also one of 11 Republican women who flipped a Democratic seat in the last election, and who was recently ranked as the most bipartisan freshmen in Congress.

One of her bills approved with Democratic support was the Paycheck Protection Program Extension Act that gives small business owners two more months to access unspent funds from that program in order to keep their doors open and their employees on payroll. “That small extension allows 2.7 million small businesses to receive $54 billion,” she said.

She also supports legislation that provides a permanent solution to DACA recipients and to foreign students who get their education at US universities, but cannot adjust their status to stay in the country. “As we talk about immigration reform, I would like to see separate legislation to fix DACA,” she said.

While she supports Biden’s $ 1.2 billion bipartisan infrastructure bill, she disagrees that the $1.9 trillion budget to deal with COVID-19 is redirected to other purposes, “such as caring for migrants who are in the community”.

“As we recover from the COVID-19 pandemic, the work of Congress will play a large role in dictating our future,” Kim said. “And by getting the government out of the way and making life more affordable for workers and families, we can get our economy and our lives back on track.”

Daughter of farmworkers

Suzette Martínez Valladares, who represents District 38 in the California State Assembly, which encompasses the northwestern suburbs of Los Angeles, Ventura County, the Santa Clarita Valley and Simi Valley, is also faithful to her party’s fiscal conservatism.

Martinez is the only Latina Republican in the assembly. She says that Governor Gavin Newsom’s policies “are crushing the middle class” and that the handling “of the lockdown and closures had little to no guidance” so that “our businesses are going at an alarmingly negligent pace”.

The Assemblywoman is co-sponsoring bill 420 which seeks to adjust state guidelines to allow amusement parks, regardless of size, to be opened safely. Her interest comes from her first work experience at Six Flags Magic Mountain where she started as a summer intern, to end up working 8 years later as an asset protection and loss prevention investigator.

“There has been clear mismanagement for so many industries that have been shuttered and closed for over a year… 1.2 million Californians have not accessed EDD (unemployment benefits), and the distribution of vaccines has been a debacle,” Martinez said, although official data showed that California has the highest percentage of vaccinations in the country.

Born in the San Fernando Valley, her grandparents came from Mexico to work in the fields of Kern County. Every summer her father, who was born in Puerto Rico, would pick crops with them.

“Throughout my life, my parents taught me the value of hard work. My dad said that I didn’t have to be the smartest person in the room, but the hardest working person in the room.”

Martínez said that she experienced extreme poverty while in high school and that she witnessed a lot of crime and drugs in her neighborhood. “I looked around me and all of my representatives were Democrats who were supposed to be the party that supported minorities and the poor. Why was I not seeing change in my own community? That forced me to look at the Republican Party,” she said.

Public safety

Walter Allen III, a Covina city council member for more than 20 years, said that although he did not consider himself a political person and was basically a “non-partisan person,” having worked with different law enforcement agencies inclined him to join the GOP “for its platform on public safety.”

“One of the major concerns I have as a local elected official is exactly public safety … and it doesn’t make any difference whether you are Republican or Democrat, I am concerned about the notion of defunding the police,” said the African-American councilmember who is also the director of the Rio Hondo Police Academy.

Born in East Oakland, where he witnessed “high crime rates,” Allen believes that perceptions about the police stem from many people not paying attention to data. “It is victims, crime reports and issues that deal with crime that disproportionately send police into communities of color,” he said. “And for some reason, people think that police officers run around, making their point to target Blacks or Latinos, and that’s simply not the case.”

Allen condemned the murder of African American George Floyd at the hands of Officer Derek Chauvin as a “horrible thing”.

“I don’t know of any police officer that wasn’t sickened by that,” he said. But he quoted various figures according to which out of 1,000 people who were shot last year, about 235 were black, and “most of those people were armed and dangerous.”

The council member said that in his academy, 80% of the officers he trains belong to minorities and that the training is focused on de-escalation techniques, how to deal with the mental health of the homeless population, and cultural diversity.

“As a mandatory requirement they have to go to the Museum of Tolerance for a day of cultural diversity training,” he assured. “We train officers how to be guardians, not warriors,” he added.

Allen believes that his party must constantly reach out to communities of color and not just during election season. “Unfortunately, a lot of Republicans are leaving the state. But I’m optimistic if we continue with the grassroots effort, we can gain some folks of color into the party,” he concluded.

Originally published here

Want to read this piece in Spanish? Click here

[writemarcus]

Lin-Manuel Miranda, Annaleigh Ashford, Neil Patrick Harris, Telly Leung, Ruthie Ann Miles and More The New York Public Library for the Performing Arts’ Virtual Benefit I’m Still Here at 90

On June 23, 2021 at 8:00 PM, an unprecedented, one-time-only virtual benefit, I’m Still Here, will stream on Broadway On Demand to benefit The New York Public Library for the Performing Arts’ Billy Rose Theatre Division.

The exciting evening is a celebration of the division’s 90th Anniversary, and the 50th  Anniversary of its beloved Theatre on Film and Tape Archive and will honor Harold Prince and George C. Wolfe.

Tickets to the fundraiser will be donate-what-you-can, with a recommendation of at least $19.31 in honor of the year the division was founded. To purchase tickets, visit stillhereat90.com

I’m Still Here will feature never before publicly shown archival content of Broadway productions from the Theatre on Film and Tape Archive, shown exclusively for this occasion, including Savion Glover, Jimmy Tate, Choclattjared and Raymond King in Bring in ‘da Noise, Bring in ‘da Funk, Meryl Streep, Marcia Gay Harden and Larry Pine in The Seagull, Lin-Manuel Miranda, Robin de Jesús, Christopher Jackson, Karen Olivo, Andréa Burns, Janet Dacal, Eliseo Román, Seth Stewart in In The Heights, Glenn Close in Sunset Boulevard, and even more to be announced. The program will also feature interviews with Broadway legends and emerging creatives and reconceived performances of classic musical theatre songs, including “A Trip to the Library,” “Wheels of a Dream,” “Another Hundred People,” “Love Will Find a Way,” “I’m Still Here,” and more.  

I’m Still Here features artists and figures from the theatre community including Annaleigh Ashford (Sunday in the Park with George), Alexander Bello (Caroline, or Change), Laura Benanti (She Loves Me), Malik Bilbrew, Alexandra Billings (Wicked), Susan Birkenhead (Jelly’s Last Jam), Shay Bland, Stephanie J. Block (The Cher Show), Alex Brightman (Beetlejuice), Matthew Broderick (Plaza Suite), Krystal Joy Brown (Hamilton), David Burtka (“A Series of Unfortunate Events”), Sammi Cannold(Endlings), Ayodele Casel (Chasing Magic), Victoria Clark (The Light in the Piazza), Max Clayton (Moulin Rouge!), Calvin L. Cooper (Mrs. Doubtfire), DeMarius Copes(Mean Girls), Trip Cullman (Choir Boy), Taeler Elyse Cyrus (Hello, Dolly!), Quentin Earl Darrington (Once on This Island), Robin de Jesús (In the Heights), André De Shields (Hadestown), Frank DiLella (NY1), Derek Ege, Amina Faye, Harvey Fierstein (La Cage aux Folles), Leslie Donna Flesner (Tootsie), Chelsea P. Freeman, Joel Grey (Cabaret), Ryan J. Haddad (“The Politician”), Sheldon Harnick (Fiddler on the Roof), James Harkness (Ain’t Too Proud), Marcy Harriell (Company), Neil Patrick Harris (Hedwig and the Angry Inch), Mark Harris (“Mike Nichols: A Life”), David Henry Hwang (M. Butterfly), Cassondra James (Once on This Island), Marcus Paul James (Rent), Taylor Iman Jones (Hamilton), Maya Kazzaz, Tom Kirdahy (The Inheritance), Hilary Knight, Michael John LaChiusa (The Wild Party), Norman Lear (Good Times), Baayork Lee (A Chorus Line), Sondra Lee (Hello, Dolly!), Telly Leung (Aladdin), Ashley Loren (Moulin Rouge!), Allen René Louis (“Jimmy Kimmel Live!”), Brittney Mack (Six), Taylor Mac (Gary: A Sequel to Titus Andronicus), Morgan Marcell, Aaron Marcellus (“American Idol”), Joan Marcus, Michael Mayer (Spring Awakening), Sarah Meahl, Joanna Merlin (Fiddler on the Roof), Ruthie Ann Miles (Sunday in the Park with George), Bonnie Milligan (Head Over Heels), Rita Moreno (West Side Story), Leilani Patao (Garden Girl), Nova Payton (Dreamgirls), Joel Perez (Kiss My Aztec), Bernadette Peters (Into the Woods), Tonya Pinkins (Jelly’s Last Jam), Jacoby Pruitt, Sam Quinn, Phylicia Rashad (A Raisin in the Sun), Jelani Remy (Ain’t Too Proud), Leslie Rodriguez Kritzer (Beetlejuice), George Salazar (Be More Chill), Marilyn Saunders (Company), Marcus Scott (Fidelio), Rashidra Scott (Company), Rona Siddiqui (Tales of a Halfghan), Ahmad Simmons, Rebecca Taichman (Indecent), Jeanine Tesori (Fun Home), Bobby Conte Thornton (Company), Sergio Trujillo (On Your Feet), Kei Tsuruharatani (Jagged Little Pill), Ben Vereen(Pippin), Jack Viertel, Christopher Vo, Paula Vogel (Indecent), Nik Walker (Ain’t Too Proud), Shannon Fiona Weir, Helen Marla White (Ain’t Misbehavin’), Natasha Yvette Williams (“Orange is the New Black”) and Ricardo Zayas (Hamilton).

“From the Great Depression of the 1930s to the COVID crisis, the Billy Rose Theatre Division perseveres and preserves the greatest treasures of theatrical history,” said Doug Reside, the Lewis and Dorothy Cullman Curator of the Billy Rose Theatre Division. “As I look back on the last 90 years of our history, I’m struck by how our division has managed to document almost every aspect of the creative process and the people who bring theatre to life. I am so grateful for the opportunity to celebrate our first 90 years in such spectacular fashion, and to the theatre community for its support. As we plan for the next 90 years and beyond, my hope is that the collection continues to grow and flourish and reflect the diversity of voices that have shaped the theatre as we know it and are shaping its future.”

“The Billy Rose Theatre Division has served as the collective memory for our community by capturing the ephemeral nature of our unique art form. Until we can all experience the joy of live theater again, we are thrilled to look back into the archives to highlight theatrical masterpieces from their vast collection,” said producers Julie Boardman and Nolan Doran. “Our hope is to raise funds to ensure the archives remain accessible to future theatre makers for generations to come.”

The virtual benefit is produced and conceived by co-founder of the upcoming Museum of Broadway and four-time Tony nominee Julie Boardman (Company) and Co-Executive Producer of Broadway For Biden Nolan Doran (Head Over Heels), featuring direction by Steve Broadnax (Thoughts Of A Colored Man), Sammi Cannold(Endlings), Nick Corley (Plaza Suite), Grammy Award Winner Ty Defoe (Straight White Men), Drama Desk winner Lorin Latarro (Waitress), Mia Walker (Jagged Little Pill) and Tony Award winner Jason Michael Webb (Choir Boy), choreography by Ayodele Casel (Chasing Magic), Lorin Latarro and Ray Mercer (The Lion King), with new music arranged by ASCAP Award winner Rachel Dean (Medusa) and Annastasia Victory (A Wonderful World), with arrangements and orchestrations by Brian Usifer(Frozen). Casting is by Peter Van Dam at Tara Rubin Casting.

Tony Marx is the president of The New York Public Library, William Kelly is the Andrew W. Mellon Director of the Research Libraries, Jennifer Schantz is the Barbara G. and Lawrence A. Fleischman Executive Director of the Library for the Performing Arts, and Doug Reside is the Lewis and Dorothy Cullman Curator of the Billy Rose Theatre Division. Patrick Hoffman is the curator of the Theatre on Film and Tape Archive. Henry Tisch serves as Associate Producer and Travis Waldschmidt is Associate Choreographer. Animation and Motion Graphics by Kate Freer, Graphic Design by Caitlin Whittington, Sean MacLaughlin is Director of Photography and Ian Johnston is B Camera Operator. Dylan Tashjian is Onsite Coordinator with COVID compliance by Lauren Class Schneider.

HOST COMMITTEE: Ted & Mary Jo Shen, Barbara Fleischman, Lizzie & Jon Tisch, Kate Cannova, Joan Marcus, Daisy Prince, Gayfryd Steinberg, Van Horn Group

LIBRARY FOR THE PERFORMING ARTS THEATRE COMMITTEE: Emily Altman, Margot Astrachan, Ken Billington, Julie Boardman, Ted Chapin, Bonnie Comley, Van Dean, Kurt Deutsch, Scott Farthing, Barbara Fleischman, Freddie Gershon, Louise Hirschfeld, Joan Marcus, Elliott Masie, Arthur Pober, Ed Schloss, Morwin Schmookler, Jenna Segal, Ted Shen, Kara Unterberg, Abbie Van Nostrand, Kumiko Yoshii

THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS DOROTHY AND LEWIS B. CULLMAN CENTER houses one of the world’s most extensive combinations of circulating, reference, and rare archival collections in the field of dance, theatre, music and recorded sound. These materials are available free of charge, along with a wide range of special programs, including exhibitions, seminars, and performances. An essential resource for everyone with an interest in the arts — whether professional or amateur — the Library is known particularly for its prodigious collections of non-book materials such as historic recordings, videotapes, autograph manuscripts, correspondence, sheet music, stage designs, press clippings, programs, posters and photographs. The Library is part of The New York Public Library system, which has locations in the Bronx, Manhattan and Staten Island, and is a lead provider of free education for all.

[corvettesupercar]

For Corvette enthusiasts wanting even more deep dives into the history of America’s iconic sports car, the National Corvette Museum brings to you “Fully Vetted”. Featuring Museum Director of Collections / Curator Derek E. Moore and Museum Historical Media Coordinator Bob Bubnis who will ‘decode Corvette history.’