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Your Cause in Lights: The Empire State Building's Tribute Policy

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One of the most recognizable buildings in the world, loved by tourists, locals and giant gorillas alike, the Empire State Building decorates the New York City skyline with regular displays of colored lights. A recent controversy over the Empire State Building's rejection of the Catholic League's proposal to honor of Mother Teresa's centennial with blue and white lights has put a spotlight on the buildings lighting policy. Among the protestors, City Council members are speaking out against the decision.


As stated by the building management, which receives hundreds of lighting requests each year, "The Empire State Building's tower lights recognize key milestones, events, charitable organizations, countries, and holidays throughout the world, not political or religion related events."


Yet, some lighting choices have been controversial.

For example, in 2009, when red and yellow lights shone to celebrate the 60th Anniversary of China (pictured), critics called it a tribute to communist rule and a country with a poor human rights record. And religious figures have been honored in the past, such as in 1979, when the building lit up in white and gold in honor of the pope's visit to New York, and in 2005, when they were dimmed to honor his death. The Catholic League also pointed out that in 2000, the building was lit in red and white when Cardinal Arch Bishop of New York John Joseph O'Connor died, and the building is regularly lit black, red and green in honor of Rev. Martin Luther King Day. In May, the building lit up in blue and white to honor the Jewish Community Relations Council of New York's Salute to Israel Parade. Also, a number of the holidays marked with lights (Christmas, Chanukah, Eid al-Fitr) have religious significance.

The 2008 rejection of an application from the Marine Corps to honor its birthday has also come back into the discussion.

The management has stayed quiet on the Mother Teresa decision other than stating that it's final. It has been self-critical in the past for lighting choices on occasion. In a 2003 New York Times interview, building special events manager Lydia A. Ruth said she regretted some of the more commercial lighting choices--Microsoft 95 (blue, red, green and yellow), new M&Ms (blue), and Pink Floyd's new album (red pulses).

What Do Herbert Hoover and Justin Bieber Have in Common?

Justin Bieber may have generated the most buzz when he flipped the switch on the Empire State Building light display for the Jumpstart Reading Challenge in 2009, but Herbert Hoover was the first to light up the Empire State Building back in 1931 after the building's completion. (Technically, he pressed a button in D.C.) Since then, the lights have gone through many evolutions, expanding in size, color and occasions, and decreasing in wattage. In 1932, a searchlight switched on to signify New York's own FDR's presidential election win. (On election eve 2008, the tower displayed both red lights for Republicans and blue lights for Democrats. After Obama won, it switched over to all blue.)

In 1956, revolving beacons, known as "Freedom Lights" were added to the building, turning it into a "lighthouse of the sky." A new set of Empire State Building lights debuted during the 1964 World's Fair, brightening the building's facade.

Douglas Leigh was behind the colorful lighting advancements. In his advertising career, Leigh was also the innovator behind a number of iconic billboards that featured steaming cups of coffee, glowing weather displays and rings of cigarette smoke. Equipped with Leigh's new color palette, the building started lighting up in earnest in the 1970s. The first display was on July 4, 1976—the Empire State Building lit up in Red, White and Blue, but it might not have been for the nation's bicentennial. Some accounts say that it was actually to celebrate the birthday of Leona Helmsley, one half of the real estate empire of Harry and Leona Helmsley (she was also born on the fourth of July).

The following year, Yankees fans celebrated their World Series Victory in the glow of blue and white lights from a new bigger display that reached from the 72nd floor all the way to the television antenna. As the New York Times put it, "Colored lights turn the Empire State Building into a toy."

In addition to vertigo, engineers who change the light gel colors as many as 200 times per year must contend with snow drifts and wayward hawks. Now, a more computerized system has greatly reduced the daily work of changing the colors of the lights.

What Do the National Osteoporosis Society and Windows 95 Have in Common?


Since 2006, the official Lighting Partner program has reviewed applications for those who want to celebrate with colored lights atop the famous building. A variety of holidays, occasions and individuals are celebrated.


Usually, no more than three different colors are allowed, but a lighting display in honor of the Grateful Dead's museum exhibit sparkled in a tie-dye rainbow of colors (pictured).


In addition to regular holidays, what else has been celebrated in lights?


Singers:
Frank Sinatra's 80th birthday and also his death (blue)
Mariah Carey's top-selling album (purple, pink and white)

Fictional Characters:
The Simpsons movie release (yellow)
Popeye's 75th Birthday (green)

Corporations
Microsoft, for Windows 95 (blue, red, green and yellow)
Snapple, for a corporate meeting (yellow)

Causes:
Breast Cancer Awareness (pink)
National Osteoporosis Society (teal)

Pets
Cat Fanciers Association (purple, orange and white)
Westminster Dog Show (purple and gold)

The Cat Fanciers Association lights shone for three nights, one night longer than the Westminster Kennel Club display--perhaps there are more cat lovers than dog lovers behind the scenes at the Empire State Building.

On other nights, the lights shine in all white, or in the colors of New York sports teams when they have home games. Following 9/11, the Empire State Building went off its regular schedule to shine red, white and blue all through the night to offer comfort to those looking out at the sky in the wee hours.

Lights Out

In addition to brightening up the sky, the Empire State Building has gone dark on a few specific occasions.

In 2004, it went dark for 15 minutes in honor of Faye Wray, the actress carried up to the top of the building in King Kong.

In 2008, the Empire State Building went "green" by turning off the lights in honor of Earth Hour. (Though far more energy is conserved in this and other commercial buildings through changes to what's going on inside of the building.)

During certain times of the year, the building dims its light to be less distracting to migratory birds.

In 1992, Harry Helmsley ordered the lights turned off for the first night of Leona's prison sentence for tax evasion.

When Harry died in 1997, the building paid tribute by dimming its lights for 7 days.

If you can't see the Empire State Building from your own window, check out this handy site to see what color the building is today and how it looks.

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20 Facts About Your Favorite Coen Brothers’ Movies
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Gramercy Pictures

Ethan Coen turns 60 years old today, if you can believe it. Since bursting onto the scene in 1984 with the cult classic Blood Simple, the younger half of (arguably) the most dynamic moviemaking sibling duo in Hollywood has helped create some of the most memorable and quirky films in cinematic history, from Raising Arizona to Fargo and The Big Lebowski to No Country For Old Men. To celebrate the monumental birthday of one of the great writer-directors of our time (though he’s mostly uncredited as a director), here are some facts about your favorite Coen brothers’s movies.

1. THE COENS THINK BLOOD SIMPLE IS “PRETTY DAMN BAD.”

Fifteen years after Blood Simple’s release, the Coens reflected upon their first feature in the 2000 book My First Movie. “It’s crude, there’s no getting around it,” Ethan said. “On the other hand, it’s all confused with the actual process of making the movie and finishing the movie which, by and large, was a positive experience,” Joel said. “You never get entirely divorced from it that way. So, I don’t know. It’s a movie that I have a certain affection for. But I think it’s pretty damn bad!”

2. KEVIN COSTNER AND RICHARD JENKINS AUDITIONED FOR RAISING ARIZONA.

Kevin Costner auditioned three times to play H.I., only to see Nicolas Cage snag the role. Richard Jenkins had his first of many auditions for the Coens for Raising Arizona. He also (unsuccessfully) auditioned for Miller's Crossing (1990) and Fargo (1996) before calling it quits with the Coens. In 2001, Joel and Ethan cast Jenkins in The Man Who Wasn't There, even though he had never auditioned for it.

3. THE BROTHERS TURNED DOWN BATMAN TO MAKE MILLER’S CROSSING.

After Raising Arizona’s success established them as more than one-hit indie film wonders, the Coens had some options with regard to what project they could tackle next. Reportedly, their success meant that they were among the filmmakers being considered to make Batman for Warner Bros. Of course, the Coens ultimately decided to go the less commercial route, and Tim Burton ended up telling the story of The Dark Knight on the big screen.

4. BARTON FINK AND W.P. MAYHEW WERE LOOSELY BASED ON CLIFFORD ODETS AND WILLIAM FAULKNER.

The Coens acknowledge that Fink and Odets had similar backgrounds, but they had different personalities: Odets was extroverted, for one thing. Turturro, not his directors, read Odets’ 1940 journal. The Coens acknowledged that John Mahoney (Mayhew) looks a lot like the The Sound and the Fury author.

5. THE COENS'S WEB OF DECEPTION IN FARGO GOES EVEN FURTHER THAN THE OPENING CREDITS. 

While the tag on the beginning of the movie reads “This is a true story. The events depicted in this film took place in Minnesota in 1987,” Fargo is, by no stretch of the imagination, a true story. During the film's press tour, the Coens admitted that while not pinpoint accurate, the story was indeed inspired by a similar crime that occurred in Minnesota, with Joel stating “In its general structure, the film is based on a real event, but the details of the story and the characters are fictional.”

However, any and all efforts to uncover anything resembling such a crime ever occurring in Minnesota come up empty, and in an introduction to the published script, Ethan pretty much admitted as much, writing that Fargo “aims to be both homey and exotic, and pretends to be true." 

6. THEY WANTED MARLON BRANDO TO PLAY JEFFREY LEBOWSKI.

According to Alex Belth, who wrote the e-book The Dudes Abide on his time spent working as an assistant to the Coens, casting the role of Jeffrey Lebowski was one of the last decisions made before filming. Names tossed around for the role included Robert Duvall (who passed because he wasn’t fond of the script), Anthony Hopkins (who passed since he had no interest in playing an American), and Gene Hackman (who was taking a break at the time). A second “wish list” included an oddball “who’s who," including Norman Mailer, George C. Scott, Jerry Falwell, Gore Vidal, Andy Griffith, William F. Buckley, and Ernest Borgnine.

The Coens’ ultimate Big Lebowski, however, was the enigmatic Marlon Brando, who by that time was reaching the end of his career (and life). Apparently, the Coens amused themselves by quoting some of their favorite Jeffrey Lebowski lines (“Strong men also cry”) in a Brando accent. The role would eventually go to the not-particularly-famous—albeit pitch-perfect—veteran character actor David Huddleston. In true Dude fashion, it all worked out in the end.

7. JOEL COEN WOOED FRANCES MCDORMAND ON THE SET OF BLOOD SIMPLE.

Coen and McDormand fell in love while making Blood Simple and got married a couple of years later, after production wrapped. McDormand told The Daily Beast about the moment when she roped him in. “I’d only brought one book to read to Austin, Texas, where we were filming, and I asked him if there was anything he’d recommend,” she said. “He brought me a box of James M. Cain and Raymond Chandler paperbacks, and I said, ‘Which one should I start with?’ And he said, ‘The Postman Always Rings Twice.’ I read it, and it was one of the sexiest f*ckin’ books I’ve ever read. A couple of nights later, I said, ‘Would you like to come over and discuss the book?’ That did it. He seduced me with literature. And then we discussed books and drank hot chocolate for several evenings. It was f*ckin’ hot. Keep it across the room for as long as you can—that’s a very important element.”

8. O BROTHER, WHERE ART THOU? WAS ORIGINALLY INSPIRED BY THE WIZARD OF OZ.

Joel Coen revealed as much at the 15th anniversary reunion. “It started as a 'three saps on the run' kind of movie, and then at a certain point we looked at each other and said, 'You know, they're trying to get home—let's just say this is The Odyssey. We were thinking of it more as The Wizard of Oz. We wanted the tag on the movie to be: 'There's No Place Like Home.’”

9. THE ACTORS IN FARGO WENT THROUGH EXTENSIVE TRAINING TO GET THEIR ACCENTS RIGHT.

Having grown up in Minnesota, the Coens were more than familiar with the idiosyncrasies of the “Minnesota nice” accent, but much of the cast—including Frances McDormand and William H. Macy—needed coaching to get the intricacies right. Actors were even given copies of the scripts with extensive pronunciation notes. According to dialect coach Larissa Kokernot, who also appeared as one of the prostitutes Gaear and Carl rendezvous with in Brainerd, the “musicality” of the Minnesota nice accent comes from a place of “wanting people to agree with each other and get along.” This homey sensibility, contrasted with the ugly crimes committed throughout the movie, is, of course, one of the major reasons why the dark comedy is such an enduring classic.

10. NICOLAS CAGE'S HAIR REACTED TO H.I.'S STRESS LEVEL IN RAISING ARIZONA.

Ethan claimed that Cage was "crazy about his Woody Woodpecker haircut. The more difficulties his character got in, the bigger the wave in his hair got. There was a strange connection between the character and his hair."

11. A PROP FROM THE HUDSUCKER PROXY INSPIRED THE MAN WHO WASN’T THERE.

A bit of set dressing from 1994’s The Hudsucker Proxy eventually led to 2001’s The Man Who Wasn’t There. In a barbershop scene, there’s a poster hanging in the background that featured a range of men’s hairstyles from the 1940s. The brothers liked the prop and kept it, and it’s what eventually served as the inspiration for The Man Who Wasn’t There.

12. GEORGE CLOONEY SIGNED ON TO O BROTHER, WHERE ART THOU? BEFORE EVEN READING THE SCRIPT.

The brothers visited George Clooney in Phoenix while he was making Three Kings (1999), wanting to work with him after seeing his performance in Out of Sight (1998). Moments after they put their script on Clooney’s hotel room table, the actor said “Great, I’m in.”

13. A SNAG IN THE MILLER’S CROSSING SCRIPT ULTIMATELY LED TO BARTON FINK.

Miller’s Crossing is a complicated beast, full of characters double-crossing each other and scheming for mob supremacy. In fact, it’s so complicated that at one point during the writing process the Coens had to take a break. It turned out to be a productive one: While Miller’s Crossing was on pause, the brothers wrote the screenplay for Barton Fink, the story of a writer who can’t finish a script.

14. INTOLERABLE CRUELTY IS THE FIRST COEN MOVIE THAT WASN’T THE BROTHERS’ ORIGINAL IDEA.

In 1995, the Coens rewrote a script originally penned by other screenwriters, Robert Ramsey, Matthew Stone, and John Romano. They didn’t decide to direct the movie, which became Intolerable Cruelty, until 2003.

15. THE LADYKILLERS WAS WRITTEN FOR BARRY SONNENFELD TO DIRECT.

The Coens effortlessly jump from crime thriller to comedy without missing a beat. So when they were commissioned to write a remake of the British black comedy The Ladykillers for director Barry Sonnenfeld, it seemed to fall in line with their cinematic sensibilities. When Sonnenfeld dropped out of the project, the Coens were hired to direct the film.

16. BURN AFTER READING MARKED THE FIRST TIME SINCE MILLER’S CROSSING THAT THE COENS DIDN’T WORK WITH THEIR USUAL CINEMATOGRAPHER, ROGER DEAKINS.

Instead, eventual Academy Award-winner Emmanuel Lubezki acted as the director of photography. The Coens would work with Deakins again on every one of their films until 2013’s Inside Llewyn Davis.

17. IT TOOK SOME CONVINCING TO GET JAVIER BARDEM TO SAY “YES” TO NO COUNTRY FOR OLD MEN

Though it’s hard to imagine No Country for Old Men without Javier Bardem’s menacing—and Oscar-winning—performance as antagonist Anton Chigurh, he almost passed on the role. “It’s not something I especially like, killing people—even in movies,” Bardem said of his disdain for violence. “When the Coens called, I said, ‘Listen, I’m the wrong actor. I don’t drive, I speak bad English, and I hate violence.’ They laughed and said, ‘Maybe that’s why we called you.”’

18. PATTON OSWALT AUDITIONED FOR A SERIOUS MAN.

Patton Oswalt auditioned for the role of the obnoxious Arthur Gopnik in A Serious Man, a part that ultimately went to Richard Kind. Oswalt talked about his audition while appearing on Marc Maron’s WTF podcast, in which it was also revealed that Maron was being considered for the lead role of Larry Gopnik (the role that earned Michael Stuhlbarg his first, and so far only, Golden Globe nomination). 

19. THE CAT IN INSIDE LLEWYN DAVIS WAS “A NIGHTMARE.”

Ulysses, the orange cat who practically stole Inside Llewyn Davis away from Oscar Isaac, was reportedly a bit of a diva. "The cat was a nightmare,” Ethan Coen said on the DVD commentary. “The trainer warned us and she was right. She said, uh, "Dogs like to please you. The cat only likes to please itself.’ A cat basically is impossible to train. We have a lot of footage of cats doing things we don't want them to do, if anyone's interested; I don't know if there's a market for that."

20. THE COEN BROTHERS PROBABLY DON’T LOVE THE BIG LEBOWSKI AS MUCH AS YOU DO. 

We’re assuming the Coen Brothers are plenty fond of The Dude: after all, he doesn’t end up facing imminent death or tragedy, which is more than most of their protagonists have going for them. But in a rare Coen Brothers interview in 2009, Joel Coen flatly stated, “That movie has more of an enduring fascination for other people than it does for us.”

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‘American Gothic’ Became Famous Because Many People Saw It as a Joke
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In 1930, Iowan artist Grant Wood painted a simple portrait of a farmer and his wife (really his dentist and sister) standing solemnly in front of an all-American farmhouse. American Gothic has since inspired endless parodies and is regarded as one of the country’s most iconic works of art. But when it first came out, few people would have guessed it would become the classic it is today. Vox explains the painting’s unexpected path to fame in the latest installment of the new video series Overrated.

According to host Phil Edwards, American Gothic made a muted splash when it first hit the art scene. The work was awarded a third-place bronze medal in a contest at the Chicago Art Institute. When Wood sold the painting to the museum later on, he received just $300 for it. But the piece’s momentum didn’t stop there. It turned out that American Gothic’s debut at a time when urban and rural ideals were clashing helped it become the defining image of the era. The painting had something for everyone: Metropolitans like Gertrude Stein saw it as a satire of simple farm life in Middle America. Actual farmers and their families, on the other hand, welcomed it as celebration of their lifestyle and work ethic at a time when the Great Depression made it hard to take pride in anything.

Wood didn’t do much to clear up the work’s true meaning. He stated, "There is satire in it, but only as there is satire in any realistic statement. These are types of people I have known all my life. I tried to characterize them truthfully—to make them more like themselves than they were in actual life."

Rather than suffering from its ambiguity, American Gothic has been immortalized by it. The country has changed a lot in the past century, but the painting’s dual roles as a straight masterpiece and a format for skewering American culture still endure today.

Get the full story from Vox below.

[h/t Vox]

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