The 102-story Art Deco’s masterpiece, Empire State Building (Shreve, Lamb & Harmon, 1931). Night view looking south of the Empire State Building from Rockefeller Center’s R.C.A. Building in early, 1961, showing the “Freedom Ligths”, beacons atop the bulding’s tower.
Source: “Deluxe Picture Book. New York City” (New York, Manhattan Post Card, Co-Dexter Press, Inc. 1968. 1971 Edition).
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Night view of Midtown Manhattan skyscrapers looking south from the top of R.C.A. Building, on Rockefeller Center in March, 1972.
The 102-story Empire State Building (Shreve, Lamb & Harmon, 1931), fully illuminated, dominates the skyline in the center. The 110-story Twin Towers of World Trade Center (Minoru Yamasaki-Emery Roth & Sons, 1973-1974) under construction are in background. The 58-story Art Deco 500 Fifth Avenue Tower (Shreve, Lamb & Harmon, 1931) is on the left.
Building boom in the Avenue of Americas’ skyscraper row, at right, on foreground, with three new International Style supertowers under construction: 50-story white travertine marble and black-tinted glass W.R. Grace Building (Skidmore, Owings & Merrill, 1973), the new 40-story New York Telephone Tower (Kahn & Jacobs, 1974) and the steel skeleton of the new 47-story 1166 Avenue of the Americas (Skidmnore, Owings & Merrill, 1974) rises up, below. The 45-story 1133 Avenue of the Americas Building (Emery Roth & Sons, 1969) are visible on the extreme right with the 41-story 1411 Broadway Building (Irwin Chanin, 1969) and the new 57-story One Penn Plaza (Kahn & Jacobs, 1972, in darkness) are visible on background.
Source: Manhattan Post Card, Co. Dexter Press, Inc.
I hereby retract any and all Moffat hate that I have ever uttered, written or otherwise engaged in.
And you probably want to know why, so I’ll explain. It harkens back to my childhood, textured by my older sister.
In the early 1990s there was a series on British children’s television called Press Gang. It was about a junior newspaper set up through a school, staffed by a collection of the best and, to their mutual frustration, most troublesome pupils. In those days the premise made good sense, given the absence of IT.
The first series/season was made when I was 7 and I thought that it was BOR-RING but my 14 year old sister loved it. Lucky for me it was rerun later, during my own teens. Then old enough to appreciate it, it made a deep impression.
It starred Julia Sawalha as Linda, an independent young woman with good principles and great force of will, but definitely still a teenager beset by the troubles of her age. She was a deep and well rounded character, as were the others in the ensemble (including Dexter Fletcher as Spike, the American Bad Boy. I’ve always wondered if it was broadcast in the US.)
The series dealt with a lot of heavy subject matter, befitting the serious newspaper that Linda ran and not limited to the tribulations of happy white teenagers. It handled, with intelligence and compassion, such things as racism, sexism, child abuse, drug abuse, and abandonment. Every character saw development over the years, everyone had something to contribute.
Over the years I’ve occasionally rewatched the odd episode, because it was so good and so powerful. Today I did so again. Today I watched the credits.
Based on an idea by
Yes, Moffat was writing for, was closely involved with, this gem of early nineties childrens’ television with prominent girls and women, as well as prominent POC. Whatever his mistakes since, THIS is enough for him to have my respect.
I even wonder whether Moffat has really been the problem in his more recent projects, or whether we’ve been misdirecting our frustrations. I’ll never deny that those projects have problems, but with this retrospective realisation my perspective is changed.
The new 57-story One Pennsylvania Plaza (Kahn & Jacobs, 1972) with the Madison Square Garden Sports Center (Charles Luckman & Associates, 1968) and the 29-story Two Pennsylvania Plaza (Chrales Luckman & Associates, 1968) in this aerial view looking northeast in fall 1972.
Photo: James Doane.
Source: "New York City. International Edition Five Languages". New York, N.Y. Manhattan Post Card Pub. Co., Dexter Press, Inc. 1975.
Dexter was stuck staring at a man for thirty minutes. He sat there, minding his own business while he painstakingly carved into the wood of a table like some deranged child. The oddity of his assortment of tattoos were another thing that forced him to take interest, as well as the fact that no one around seemed to notice him carving into public property like he wasn’t even there. “So?” Dexter finally spoke up, pressing a cigarette to his lips.