Hello and welcome to the session. Let us discuss the following question. Question says, a cottage industry manufactures pedestal lamps and wooden shades, each requiring the use of grinding or cutting machine and a sprayer. It takes 2 hours on grinding or cutting machine and 3 hours on the sprayer to manufacture a pedestal lamp. It takes 1 hour on the grinding or cutting machine and 2 hours on the sprayer to manufacture a shade. On any day, the sprayer is available for at the most 20 hours and the grinding or cutting machine for at the most 12 hours. The profit from the sale of the lamp is Rs 5 and that from the shade is Rs 3. Assuming that the manufacturer can sell all the lamps and shades that he produces, how should he schedule his daily production in order to maximize his profit? Let us now start with the solution. Now we shall first formulate the linear programming problem according to the given conditions in the question and then solve it graphically. First of all, let us assume that let number of pedestal lamp produced be X. So we can write let number of pedestal lamps produced be X and also let the number of shades produced be Y. Now we are given that it takes 2 hours on grinding or cutting machine to produce 1 lamp and it takes 1 hour on grinding and cutting machine to produce 1 shade. We are also given that grinding or cutting machine is available for at the most 12 hours. Now we can write according to the given question 2X plus Y is less than equal to 12. This is the time taken by grinding or cutting machine to produce X pedestal lamps and this is the time taken by grinding or cutting machine to produce Y number of shades and we know this total time is less than equal to 12 as machine is available for at the most 12 hours. Now this is our required first constraint. Now we are given that it takes 3 hours on the sprayer to manufacture a pedestal lamp and 2 hours on the sprayer to manufacture a shade and we also know that sprayer is available for at the most 20 hours. Now our required second constraint is 3X plus 2Y is less than equal to 20. Clearly we can see this is the time taken by sprayer to produce X pedestal lamps and this is the time taken by sprayer to produce Y shades. Now total time is less than equal to 20 as sprayer is available for at the most 20 hours. Now we know the number of lamps and shades produced is greater than equal to 0. So we can write X is greater than equal to 0 this is our third constraint and Y is greater than equal to 0 this is our fourth constraint. Now we are also given in the question that the profit from the sale of the lamp is rupees 5 and that from the shade is rupees 3. Now profit function or we can say objective function Z is equal to 5X plus 3Y this is the total profit made on X number of lamps and this is the total profit made on Y number of shades adding these two profits we get a profit function that is Z. Now linear programming problem becomes maximize Z is equal to 5X plus 3Y subject to the constraints 2X plus Y is less than equal to 12, 3X plus 2Y is less than equal to 20, X is greater than equal to 0 and Y is greater than equal to 0. Now for drawing the graph and for finding the feasible region subject to given constraints we shall first draw a line 2X plus Y is equal to 12 corresponding to this inequality. Now clearly we can see points 0 comma 12 and 6 comma 0 lie on the line 2X plus Y is equal to 12. Now graph of the line can be drawn by plotting these two points on the graph and then joining them now clearly we can see in the graph this is the point 0 comma 12 and this is the point 6 comma 0 joining these two points we get the line 2X plus Y is equal to 12. Now clearly we can see this line divides the plane into two half planes now we will consider the half plane that satisfies 2X plus Y is less than 12 that is the half plane containing 0 0. Now we will draw a line 3X plus 2Y is equal to 20 corresponding to this inequality now clearly we can see points 0 comma 10 and 6 comma 1 lie on the line 3X plus 2Y is equal to 20. Now we will plot these two points on the same graph and then we will join them to get this line now clearly we can see this point represents 0 comma 10 and this point represents 6 comma 1 joining these two points we get the line 3X plus 2Y is equal to 20 now again this line divides the plane into two half planes we will consider the plane that satisfies the inequality 3X plus 2Y is less than 20 or we can say we will consider the plane that contains origin 0 0 also clearly we can see lines 2X plus Y is equal to 12 and the line 3X plus 2Y is equal to 20 intersect each other at point 4 comma 4 now we have given X is greater than equal to 0 and Y is greater than equal to 0 now this implies that the graph lies in the first quadrant now this shaded region in the graph represents the feasible region satisfying all the given constraints now clearly we can see feasible region is represented by this convex polygon let us name this point as C this point as P and this point as B so we get convex polygon C O B P represents the feasible region corner points of this convex polygon are O having coordinates 0 0 B having coordinates 0 10 P having coordinates 4 comma 4 and C having coordinates 6 comma 0 now we can write a shaded portion in the graph which is a convex polygon C O B P represents feasible region now the corner points of the convex polygon C O B P are B 0 comma 10 O 0 comma 0 C 6 comma 0 and P 4 comma 4 now according to corner point method maximum or minimum value of a linear objective function over a convex polygon occurs at some vertex of the polygon now we can write according to corner point method maximum value of Z will occur at any of the above points now we know Z is equal to 5 X plus 3 Y first of all let us find the value of Z at point 0 comma 10 Z is equal to 30 at 0 comma 10 substituting 0 for X and 10 for Y in this expression we get Z is equal to 30 at point 0 comma 10 similarly Z is equal to 0 at point 0 comma 0 now we will find the value of Z at point 6 comma 0 substituting 6 for X and 0 for Y in this expression we get Z is equal to 30 now we will find the value of Z at point 4 comma 4 so substituting 4 for X and 4 for Y in this expression we get Z is equal to 32 now clearly we can see maximum value of Z is 32 and it occurs at point 4 comma 4 so we can write hence the maximum value of Z is equal to 32 which occurs at point 4 comma 4 that is value of X is equal to 4 and value of Y is also equal to 4 now we know X is the number of pedestrian lamps so we get number of pedestrian lamps is equal to 4 and Y is the number of shades so we can write number of wooden shades is equal to 4 and maximum profit is equal to rupees 32 so this is our required answer this completes the session hope you understood the solution take care and have a nice day


All right, for those of you who are joining us online and around the world and those of us here at Flock today, welcome back. I'm glad that you're here to continue with the Fedora-leading Linux distribution development track. It's my pleasure to introduce Michael Cornetchi. Cornetchi. Cornetchi, ah, almost there. And I will hand it over to you for a talk today about what's new in the land of releasemonitoring.org 2023 edition. Thank you. I was already introduced. So this talk is about what's new in the land of releasemonitoring.org. This is the 2023 edition. As you can see, I adjust the Fabio slides. My name is Michael Cornetchi and I'm mage from releasemonitoring.org. That is not my official role, don't think about it. So, first thing first, where is my magic hat? Oh, here it is, okay. And, but how we can get it from the slides? Let's see. Oh, it's gone. Where it is? Oh, dear. Okay, found it. So, now I'm the mage. And let's start with a story. So, one day I was going to my magic tower. As you can see, it was nice day, everything sunny. It was like in some kind of paradise, plenty of flowers. And then I got inside and I found a stairs. So I get up and when going up, I was thinking if what I can see? As you can see, there is a balcony in there. And what do you think I could see from it? Okay, so if nobody knows, it was actually the World Release Monitoring.org. It's world real. And what it is, actually? So, there are two parts of the release monitoring.org. It's the Anitya and the New Hotness. The Anitya, I will show you first because it's just easy to show, easier to show. Let me just find it. Oh, let me fight with it for a moment. Oh, let me open it. It will be easier. Okay, so here is how it looks. This is the Anitya itself. The Anitya is a front-end for watching for the releases of your favorite projects as you can already read. And this is how it looks. And let's go back to the slides. And what it allows, allows users to add projects to watch for new releases. This will allow you to actually see what projects, what versions are available, what version is the newest, and it will allow you plenty of customization for the projects. It automatically checks for new releases of the upstream projects. You can see what is happening there. You can see hope when the version actually came out and it sends federal messages to the message bus when the new version is retrieved. So all of this is actually done in the front-end. This is what you can see mostly in the land of ferrismointing.org. But there is the other, the new hotness. The new hotness is kind of somewhere inside of the ferrismointing.org, but let's say it's floating island above. And what it does, it's listening to messages emitted by Anitya, creates or updates Paxilla when new release is built, font, and it can start scratch builds configured. This is what you will get if you are a packageer and you get notification on Paxilla. It is the issue created by the new hotness. And now we have some magic numbers, who doesn't like numbers, for Anitya first. So it will be in this format. I will show you how it was the number in the previous nest and year later. And what this is for between the last nest and the new flock. So we will do it a little more interactive. So we had two releases of Anitya two, one year ago, or to the next, to the previous nest. So how many releases do you think we had? It was more, less, more. Okay, yeah, you will be right. So next we have 266 commits. So do you think we had less commits or more? Less, okay, yeah, it's less. And it's less because we actually change how the dependencies are solved. So we don't get that much dependency updates than we get before. So plenty of tools were created by both before. And we had 13 contributors before. How many do you think this year? More, no, it's less. But I would say that this is because in the last statistic I probably included the both accounts and those are removed. So the number would be same. And how many issues? Less, less issues. No, it's more. But this means more people are actually using the release monitoring.org, which is great. Okay, and closed issues. Yeah, it's much more than last year and almost the same number as the created issues, which is nice. And the last version that I presented here was 1.4.1. So how many versions do you think was before? We know that it was six, but what is the version number? It is definitely bigger. So, to that, oh, no. 1.1, we had one hot fix and few mineral releases. There wasn't any major change, at least not in the backend. There was some changes in the front end that were actually really big. And how many projects we worked? We had 216,314 last year. So how many? We have no. More. Yeah, definitely more. So 309,000. And how many of those are Federa packages? We have 20,600 last year. It's close. We didn't get that much new, but I'm not sure right now how many Federa packages are actually out there, how many Federa packages are actually packaged and maintained right now. So not sure if the number could go that much up. Okay. And now look at what goblins delivered, so what new features we have. So you will now see the goblins that are delivering things. Those are actually DICE goblins, but this doesn't matter. Let's say that those are the goblins that are working on RISMO and TERi.org and trying to deliver things. I'm one of them. So we had one new thing is that we have sort of the list of distribution in the project view. I can actually show that when I switch to the correct tab. Oh no, okay, here it is. Okay, so if you saw the project previously and see any mappings, it was just how people created them. So we have no way that you can see them alphabetically. So it's much easier to find what you are looking for. And okay, so let's go to the next one. Let me just switch the slideshow. And the next big thing is migrating to bootstrap five. The previous where previously it was in bootstrap three and it took a great amount to actually migrate it, but the new front end looks much more clear, much more clean, much more modern. So it took the work actually was good and satisfying to see that the outcome is actually something we can look at and we can show the people. The next thing that was related to it and why the migrating actually started was we actually had dependency watching for JavaScript packages. And this was actually one of the things that was found in this that we have really old bootstrap version. Great, source has back end. If you know how the Anintia works or if you don't, there is plenty of back ends you can choose from. I will open the guide. As you can see, there are plenty of them. Those are actually all the Gitforges or sources you can watch for. We added the source hat, that was one of the newest one. And one of them is made custom so you can create your own regex that is actually trying to parse the page and trying to find the version based on regex. Okay, so let's go back. We have configuration for this trainings. Oh, I will show that because that is really nice feature. If you go to any project, let me just go back. And you can see that there are links in the package names and if you click on them, you will get redirected to the repository in the distribution. This was originally created just for few distributions and those few distribution where just having it hard coded in the web page. So the change is that it is no configurable. There is in Anita configuration you can actually set distribution and the link. And it just adds the name of the package that is specified in the package name. So you can use it for anything. You can see here is a Fedora. So let's just look at the Fedora one. And it will show you where it is, how it looks. And it's working for the FlatHub as well. So yeah, it's usable if you just want to know what distribution are actually using it. You must take in account that all of these are actually edited by somebody. There is no automation that is creating the package mappings. So if anybody from the distribution wants to update, it's on you to actually add the correct project. Okay, so let's continue. And we have another bagend. This is the CGIT bagend. Just add, I think, as the last one. And the GOGS bagend. And now we will look into the crystal ball and we will see what the future holds. So one of the things that we, that is actually wanted by plenty of people, I closed plenty of duplicates for this one, is to have some kind of replacement rules for versions. If you get a version right now, only thing you can do is to remove prefix from the version. And there are some, let's say projects that are actually creating really strange version strings. And this is to help them to actually just find the version in it. So kind of regex that will just, you will set, here is the major version, where's the minor, where's the what fix version or something like that. And the rest will be just thrown out. So the versions are much clearer. Support for different version streams. This is something that is related to both Anidya and Newhotness. The different version streams means that we will have, we will watch separate later versions for zero, 1.0 release via 2.0 release and so on. Because plenty of people actually wanted to get notifications about the older versions, even if there is a newer. So this will help with that. A new authentication backend. This is ongoing work. This is already being done partially. We will go from the Flask OIDC to Outlib. And we already have some work done for Google and GitHub, but we need to add the Outlib support for Fedora. Just the Flask OIDC is using deprecated authentication number, which is not great. But yeah, this is something I need to look into and didn't get to it. And the next is RSS feeds for projects. So if you just want to watch one project, we would like to have option for you just to add it as RSS feed and it will notify you when there is a new version. And automatic filling of project details and creating a new project. This is something, if you are familiar with ProtonDB, for example, if you just put there the ID of the game and it will show you all the things that needs to be filled in. So it will just prefill it. And I would like to have something like this for Anitya. You will just put it the URL of the project and it will prefill most of the things for the project. And now some magic numbers for the new hotness. So make it interactive again. So we had four RSS till last nest for the new hotness. Who many do think there was this year? Less or more? More. More? No, it is actually less. And who many commits? Less, more? More. More? No, it's much less. The reason for that is like I said in case of Anitya, we changed how the dependencies are resolved. That is one of the things. And the second thing that is actually bank here is that we actually don't have that much issues on the new hotness. Which is another thing. How many contributors do you think we have for the new hotness? We had five. Less? Yeah, we have three. But as I said, this could be the both accounts. I forgot to remove on the last year. Issues created. We had 62 last year. 24. And how many closed issues? More or less? It was less. But because we didn't have that much open issues. So. And version. Do you think the version is bigger or less? More or less? More or less? More or less? I don't think it's the same. No, more. Could you want to actually guess what version do we have right now? It's fine 2.24. 1.2.4. And the 4.1 is, this is actually because there was only a few hot fixes that needed to be done. And otherwise I didn't need to touch it. There are a few feature requests, but they are not high priority feature request. And for the issues, it's actually, when the issue is reported, it is closed really soon because it is much better to maintain it and much more stable. It's easier to find what is causing it and fixing it. There are a few that we didn't actually found out what is causing them. But this is something like Heisenbach, so it's hard to find. And what features? Okay, I will ask. How many features do you think there was delivered in the new hotness? Okay, yeah, it's zero. We didn't have any new features. But as I said, it looks like the new hotness is right now stable. There are a few features I'm still waiting for Bagur update to happen for the diskit. For the diskit to actually be useful because I already have in new hotness option to watch for all new releases, not looking only at the new best one, and option to watch only for the stable releases. But both of those options are dependent on diskit to have new version of Bagur, which didn't happen yet. And what is the future? So I would like to have support for flood packs for Fedora flood packs. So we will just create new bugs in the Fedora flood pack namespace. Same for Apple. And that is actually all. So any questions? Any questions about head? I don't know. I'll just give him the microphone, so. I know, I just wanted to say your head is fascinating. I need, do we have any more pins in a flock? This year? Cause I would like some pins on the head. I think that they do have some pins for giveaways later. So if you're in some of the social nights, I think they have some Fedora pins, but. Okay, that sounds great. Okay, so the question was where did I get it? So I ordered it from some eShop. I don't remember. And I liked that the colors are actually in Fedora, white and blue, so it's nice. And any other question? So forgive me if I'm just oblivious. I don't think there's anything in it for like CVE tracking separate from just actual updates. Have you considered being able to like look for CVE fixes and stuff as well? Oh, yeah. That is one of the things the CVE fixes are not part of the Anitya. Anitya is just watching for new releases. It doesn't know what they seem to release. In case of GitHub, you can look at the commit that is related to release, so this could be used. You can look at the upstream, but you need to look at the logs of the project to actually see the patches. Yeah, I was more or less just asking, is that a feature that's been considered for the future is just automating some of that? At least flagging saying, hey, there's a CVE on this. You might wanna go look for fixes. Yeah, okay. In case of Anitya, Anitya doesn't look for this. I'm not sure if we, Planet Earth Switch, I don't know if we even have issue for it. Let's just kind of go basically. Yeah. Okay. Just right now, it's just looking for new releases and the new hotness is the one that is creating the bugs. So it would need this information from somewhere and right now we don't have it, especially for some of the baggants that don't actually share it. You have custom baggants, it's usually just parsing some sites so we don't know what is on the site. Just looking for the version that is new. Okay, so here are some links. I'm not sure where I can share the slides, actually. You can put it on the sketch page. Ah, okay. Okay, so I will put it there and yeah, you can look at those. There is blog post. Oh, okay. Well, it's really a personal interest question because I put in an issue about supporting certain source for projects that release like different streams of artifacts that are tracked independently, they versioned independently. So they like sub projects from one project because I got bitten by the lack of this feature and because the new hotness filed a bug with the incorrect version that was the default, let's say, sub-project version and not the one I was actually pointing to in this particular project. Yeah, in this case, it depends if the projects actually have the tags different for the projects that are tracked on the same repo. Because if the tags are just version, we can actually. There are sub-folders. Sub-folders, yeah, okay. Yeah, I'm not sure if we can, we don't support that and it's not that much predicted actually using this. So it's a low priority feature in this case. But yeah, it's one of the, I know that there is issue for something like this. Okay, thank you. So if there isn't anything, I will share the slides later. The blog post is something I didn't update it in a long time but it's why I actually have the head and why I'm here as a mage and you can actually read why it is like that. And there are some links to the repositories and for the messaging schemas that actually were emitted by Anitya and the new hotness. And that is all. So thank you.


Good afternoon and welcome. I am Pat Parazzini, Director of Alumni Engagement, Regional Chapter Development for Fairfield University, and I am so thrilled to be able to bring this presentation to you via Zoom. In my position here at the university, I had the pleasure of working with alumni from across the country, coordinating with chapter leaders and volunteers to host events that keep alumni connected too, and engaged with Fairfield. We have nine regional chapters from Boston and Washington DC alphabetically, and from Boston to San Francisco geographically. I hope to meet you all in person at an event in your local area in the very near future. Before I introduce our esteemed guest presenter, I would like to go over the format of the lecture today. It is a PowerPoint slide presentation, and our guest lecturer will be speaking to those slides. We'll have a break midway at the end for questions. Please type your questions via the chat function on the Zoom, and I will relay them to our guest, and please make sure your video and audio capabilities are turned on. Today, I have the great honor and pleasure of introducing Dr. Kurt Schlickding. Dr. Schlickding, Fairfield University, is the E. Gerald Corrigan 63 Chair in Humanities and Social Sciences Emeritus. At Fairfield, Dr. Schlickding served as the Dean and Associate Dean of the College of Arts and Sciences as a member of Phi Beta Kappa. Waterfront Manhattan from Henry Hudson to the Highline, 2018, is his third book for Johns Hopkins University Press. Grand Central Terminal 2002, won the Association of American Publishers Award for Best Professional Scholarly Book in Architecture and Urbanism. Grand Central was the basis for the 2008 PBS American Experience Grand Central, an award-winning documentary. Dr. Schlickding was the academic advisor and appeared on screen. His academic research is at the cutting edge of the field of Historic Geographical Information System, HGIS, which he used to study the Irish in New York and Newport, Rhode Island. In the spring of 2017, he was a visiting fellow at the Moore Research Institute, National University, Ireland, Galway. Currently, he is co-director of the NYHGIS, New York Historic GIS, centered at the New York Public Library, and is an advisor to the Library's Center for Digital Humanities. He remains active at Fairfield University, serving as co-principal investigator for the Center for Social Actions major project to conduct a needs assessment for the United Way of Grants, Connecticut. Kurt and I have partnered three times on events for the New York City Alumni Chapter, two tours of Grand Central Station, and one of the New York City Waterfront, and these events are always sold out. I give you all, Dr. Kurt Schlichting. Listen, it's great to see you here, everyone, to be together virtually. I've done these Grand Central tours for many years, and a little shameless self-promotion on the right-hand side. You see the Grand Central book, and I follow that up with Grand Central's engineer in 2011, and my most recent effort is Waterfront Manhattan from Henry Hudson to the High Line, which does include the railroads. What we want to do is we want to think about Grand Central. Of course, this is the Grand Concourse, and it's the most visited space, interior space in the city, and the clock in the middle of Grand Central is a place where you can meet. All you have to do is see you at the clock in Grand Central, and anyone who knows the city knows the clock in the center of the Grand Concourse. But what I wanted to do today is I wanted to place this in the context of the Vanderbilt family. The people are familiar with the Vanderbilt family. It's a name that reverberates down in history, and it begins with Cornelius Vanderbilt, and he built an empire before he got into the railroad business. So for example, you can see that before that, he was born in Staten Island. He came from a farming family. They weren't wealthy at all. When he was about 17 years old, he borrowed some money from his mother and bought a small sailboat. It was called a peri auger. It was a Dutch design, a flat bottom boat, and Vanderbilt began to offer service back and forth between Staten Island and Lower Manhattan Island, the tip of Manhattan Island. And he prospered in that. He was involved in the early steamboats in New York Carver, the steamboat empire, and he builds an empire. He runs steamboats up to Albany, New York. The passage between New York and Albany was incredibly vibrant because the year he canal ended in Albany and people wanted then to get to New York City. And he traded up and down with the cities along the Hudson River. He organized a steamboat service between Manhattan Island on the East River between Manhattan Island and Long Island Sound to Greenwich, Bridgeport, New Haven, and all the way up to Stonington, Connecticut, which you may know is at the very end, it's the last town in Connecticut before you enter Rhode Island. But from there, he organized a railroad line or there was a railroad line that would take you to Providence and then on to Boston. And it was much quicker than sailing to Boston from New York Harbor, you had to go around Cape Cod. So he organized that. And then during the civil, during the, during the, not the civil war, during the gold rush, people are desperate to get to California. Well, you could go by a wagon train across the country or you could sail around Cape Horn. And that would take months. Four months was not unusual. Five months to get around from New York by a sailing ship around the worst water in the, in the world, Cape Horn, and then up the coast of South America and then up to California. So what Vanderbilt does is he organizes a steamship service between New York and Nicaragua, the coast of Nicaragua on the Caribbean side. And then you could take a boat up a river to Lake Nicaragua and then travel across Lake Nicaragua where there first would be a horse drawn carriage is waiting. And then later on a small railroad line down to the Pacific coast of Nicaragua and ships would be waiting and they would be steamships as well to take you to San Francisco and the gold fields. He was married to his first wife Sophia for a number of years. He had 13 children, 10 girls and three boys. And the three boys are listed on the right hand side William Henry. He'll inherit most of the commoner's wealth. He had a son Cornelius who wasn't very successful, was a nerdy well who actually committed suicide in 1882. And he had a son George who just had an ordinary life and wasn't really part of the Vanderbilt Empire. Well, then it's now during the Civil War, 1863, and Vanderbilt gets into the railroad business. He's 69 years old. Well, he really didn't build railroads. He took over railroads that others had pioneered. So for example, he gained control of the New York and Harlem, the Hudson River Railroad and then the New York Central. Now the Hudson River, the New York and Harlem started as a horse-drawn train service between the city of New York, which was down at the very end of Manhattan Island and the village of Harlem. It was a village up on the island. There was farmland in the middle of Manhattan Island. And then people went to Harlem, wealthy people in New York went to Harlem, especially in the summertime to escape the heat and especially to escape the communicable diseases which would often break out in lower Manhattan Island. The Hudson River Railroad was organized by a group of investors in Poughkeepsie, New York, who wanted to have rail service from Poughkeepsie to New York, to the tip of New York, Manhattan Island. And they did that. And then finally, the New York Central, it's a saga, they built a railroad parallel to the Erie Canal, linking Albany with Buffalo. Now you might wonder, well, why did they build a railroad when they had the Erie Canal? Well, the canal froze in the wintertime. And by the way, so did the Hudson River. It was eight separate railroads at one point. And I think there were two more added for a total of 10. And then finally, they were put together and they formed the New York Central Railroad, one railroad company. Well, Vanderbilt takes control of that as well.  And he gets the state legislature in New York to pass a bill to form the New York Central and Hudson River Railroad. And he combines those three railroads and it's the New York Central. So for example, today, when you go to Grand Central and you ride on the Harlem River, the Harlem Division, you're riding on basically the tracks of the New York and Harlem, which eventually went up to Harlem, then crossed over into the Bronx, then went up into Westchester County and they went all the way up to close to Albany, New York, that no longer have trains that far. And then when you ride the Hudson Division along the Hudson River, you're riding on the tracks where the Hudson River Railroad was originally organized. And the Hudson River Railroad and the Harlem had an enormous advantage. They had train service to Manhattan Island. The Hudson River Railroad went all the way down. The shoreline of the Hudson River, all the way down almost to City Hall. And they could service the piers along the Hudson River. And it was an enormous advantage. The other railroads, the large railroads all had to come to New York, but no one of them, no one else, no other railroad could gain access to Manhattan Island. And that was an enormous advantage the New York Central had for many, many, many years. Well, the three, the grant, the railroads, the two railroads that are now the New York Central, they also needed a place to have a terminal that combined the service to all, to both of them and to the New Haven Railroad, which they had signed an agreement with for 401 years that gave the New Haven the right to run its trains on the tracks of the New York and Harlem down into Midtown Manhattan. Well, the passenger service just grows and grows, especially with the addition of the New York Central Railroad. And they needed a terminal. And they, the railroad owned land at 42nd Street and Vanderbilt Avenue that the New York and Harlem used to use to store its trains and to service its trains.  And when he announces plans for this first Grand Central, there's enormous outcry. What are you talking about 42nd Street? New York is not above Houston Street.  You'd have to get on a trolley down in Lower Manhattan Island and ride that trolley up to 42nd Street. Or if you were wealthy, your private carriage would take you up to 42nd Street. And this is the first Grand Central. And behind it was a very large train yard that was open at ground level and it was prosperous. The railroads were the only way to travel. It was the only way you could get to the Midwest was to go by train. There were obviously no airlines. So the railroads really did rule supreme. And this was a very, very elaborate terminal building that Vanderbilt had constructed at 42nd Street. And you can see Vanderbilt Avenue, that Vanderbilt Place just to the left of the first Grand Central. And also it creates this dynasty, the dynasty of the Vanderbilt family. There's a good biography of Cornelius Vanderbilt called the First Tycoon by E.J. Stiles, which is very, very good. But he basically builds the greatest fortune in the world. So when Vanderbilt dies in 1893, 1877, I'm sorry, he had the largest fortune in the world by many estimates. So what does he do? Well, he leaves the bulk of his fortune to his one son, his eldest son, William Henry. Now he leaves money to some of the daughters, but what they do is they go into court and they sue because they wanted more money. And that lawsuit of contested will drags on in the press in the courts for over a year. And Vanderbilt's reputation is dragged through the mud by the sisters and their attorneys. It was a food fight. Now, William Henry inherits this giant fortune, which would be estimated about five or almost $6 billion in 2020. And he has six children. He has four sons and two daughters. And the third generation are gonna be the generation that build the new grant. Well, Grant Central, the first Grant Central helps pull the city of New York father up the island. And the railroad is very, very successful. Passenger, the number of passengers passing through the first Grant Central increases year after year after year. And that particular building is not working. So that in the early 1890s, they commissioned, the railroad commissioned a rebuild of that first Grant Central. And that's Grant Central too. And you can see that on the right-hand side. You can see a picture of that. And you can see, by the way, you can see that the area around Grant Central has grown. And they added two stories over the original story and a half, and they made the building more accommodating. But the problem was they only had 13 tracks. And it was the volume of traffic, passenger traffic couldn't be accommodated bit those 13. Those 13 tracks. So what they did is they announced an architectural competition. And in the next slide, we'll see William Wilgus, he was the chief engineer. And he announces, the railroad, the New York Central Railroad, announces an architectural competition in 1903 for the new building. But they were going to not only build a new Grant Central, they were going to put the underground train yard, I'm sorry, they're going to put the train yard underground and you'll see that in a moment. And they invite major architects, the major architects in the country to submit plans. And among those who submitted plans were Daniel Burnham, who had designed the Chicago's World's Fair, Stanford White from the famous McKim, Mead and White, they submitted plans and Carriere and Hastings, who were a partnership, they had designed the New York Public Library, they had won that competition. So this was the major architects, American architects of the time submitting plans, participating in the architectural competition. Well, lo and behold, the firm of Reed and Stem of Minneapolis wins the competition. Now they were a major, they were a firm that had designed a number of terminals for the New York Central System, but much smaller in scale. And they had nowhere near the reputation of Daniel Burnham or a Stanford White or a Carriere and Hastings, but they won the initial competition. Well, it turns out that William Wilgus, who we'll meet in just a moment, was married to Stem's sister. So they win the competition. Reed's sister is married to William Wilgus. And really, he's the hero of the Grand Central Story from my perspective. He was born in Buffalo, New York, as you can see. He went to high school, didn't go to college, but to be an engineer at this particular period of time, there were only a few places that you could study engineering. One was the Naval Academy. The second was at West Point, and the third was at Cornell University. So that he goes to work for the railroad, as you can see in 1893, and he has a meteoric career at the New York Central. And by 1901, he's the chief engineer. Now, what he does in 1903 is to put together a plan for a new Grand Central. And in a six page memo to the president of the railroad and to the board of directors where the two Vanderbilt, third generation, they were there, and so was J.P. Morgan. So it was a very distinguished board of multi-millionaires. And I simply said that it's, I'm not the first to say this, but a multifunctional plan of staggering genius. It really is an unbelievably complicated plan. Look, what they're gonna do is the train yard is up at ground level. They're gonna put that underground. They're gonna build a two-story underground train yard. And of course, you can't use steam to run that particular underground train yard because what are you gonna do with the steam? So they have to electrify. Well, that sounds easy to our ears, but at the time, no one had built large electric trains. They had trolleys, and they run by electricity with a 25 horsepower engine. Well, you're gonna need three or 4,000 horsepower engines to pull the big, heavy trains in and out of Grand Central. Well, once they've put the train yard underground, then Wilgus argues that they've created air rights, the space above this underground train yard, and they can build then a large, large real estate development in Midtown Manhattan, which Wilgus calls Terminal City. And the revenue from Terminal City is going to pay for the entire Grand Central project, which was going to be millions and millions of dollars in 1903 dollars. Well, getting back to the competition. So this is the plan that won the initial competition. It's not the Grand Central that we see today. It's certainly a huge building, fronting on 42nd Street, and the idea is that it would have 12 stories of revenue producing space, and that would pay for the Grand Central project. And the New Haven Railroad was a partner in this because they ran their trains to 42nd Street as well. And they were in favor of the Read and Stem Plan. And Wilgus makes the rental income is part of the financing of this new Grand Central. Well, enter Whitney Warren. Whitney Warren. Whitney Warren was an architect who's going to play a major role in the Grand Central project. And in Wilgus' auto, in his unpublished autobiography, he writes, in the latter part of 1903, Warren and Whitmore proposed themselves in connection with the Grand Central design. He also writes, he said, there was a knock on his door and Whitney Warren comes in and says, well, I'm going to be part of the design of the new terminal. Well, who's Whitney Warren? Well, he was born in Troy, New York and lived in New York City. His father was a lawyer and financier. For those of you who know Newport on Narragansett Avenue was, they had a summer home. He was a member of Mrs. Aster's 400, you know, the height of the, the height of the social world in New York City. And then what he does is his father sends him to the Echo de Beaux Arts, which is, we're going to get to that in a moment. It was an architectural school in Paris. And he's socially prominent.  He goes sailing or yachting on Cornelius William K. Vanderbilt's yacht. So he's socially prominent and certainly well connected. And this is the Echo de Beaux Arts. So that in this era, after the Civil War from 1865 to 1915, it's called the Age of Energy. The United States comes to become the leading industrial country in the world. New York is the preeminent city in the United States. And there's a search for an architectural style. And what emerges out of this is what we call the Beaux Arts. And the school was located on the left bank in Paris. You can see this, the picture on the right is a modern picture. The buildings are still there. It's not an architectural school now. It's an art school. But in that those windows that you can see on the second floor are where the library is. And I went there to look at Whitney Warren's school records when he was at the Echo de Beaux Arts. And it really was designed as a place to teach architects to build for the French monarchy and the French aristocrats. So it was monumental style. But what you didn't do is you didn't go and just sit in the series of lectures as you would at an American university, for example. What you did is you studied in a studio and Whitney Warren joined the, they're called Atterrières, Dumont and Giralt. And then the curriculum was organized around the series of architectural competence. So the architects would go down to the Echo de Beaux Arts. They'd go into the library building. And what they do is they design an architectural project, a major project to design a library, to build a palace. And they had to sit down and from scratch they had 12 hours to do some early sketching and to outline the project. And then that would be judged. And if you pass that first hurdle, you then would return to your studio for about two months and you'd work up a complete design and then you'd return to the Echo de Beaux Arts, you'd turn to the Beaux Arts building and then someone would be judged as a first prize or a series of second and third prizes. Now Paris at the time was a major, major destination. It was the city of lights. And it was bohemian and romantic to be on the left bank. A famous American architect, Louis Sullivan, said it was the damnedest pigsty I ever got into. But Aaron spent a decade there and he came back well to an America that was looking for an architectural style and others that went to the Echo de Beaux Arts, other Americans who went to the Echo de Beaux Arts came back trained as these architects at a monumental scale. And the most important one is Richard Morris Hunt. He was the first American to study at the Echo. He returns. He has a fabulous career. He builds the facade, the Fifth Avenue facade of the Metropolitan Museum of Art. The World Colombian Exposition in Chicago. He designed some of the white city buildings. And then in Newport, Rhode Island, as you can see, he is the court architect. He's the court architect for the Astors, the Vanderbilts, the Golets. And he's just has a fabulous career here in Newport, Rhode Island. And here's a perfect example of the Beaux Arts. This is the New York Public Library on Fifth Avenue and 42nd Street. It's an Imperial facade. This is classical Greek and Roman architecture. It's grandeur on a monumental scale. And critics labeled it the Imperial facade, but it's perfect for the Gilded Age. It's perfect for New York City, which wants to be not just this country's major city, but one of the major cities in the world. So you have projects like the New York Public Library, the Fifth Avenue facade of the Metropolitan Museum. You build the architects of the Rhode Island State House. And the middle picture here is the White City to celebrate the anniversary of Columbus coming to the Americas. And they built down on the water in Chicago. They built this White City. The buildings were built out of plaster, but they were a major tourist attraction while in 1893 when the celebration opened. And you can see that on the right hand side you have the Paris Exposition, which is Bo Arts. And in a sense that that influences the White City. And then in Newport, Rhode Island, here's the two mansions of the Vanderville Third Generation, the Third Generation, William K. And if you've been to Paris and you go out to Versailles and you walk through the Hall of Mirrors, you can see what William K. wanted and what Richard Morris Hunt was capable of doing. And the Gilded Age, the Gilded Age continued. The Vanderbilt's William K. also had a mansion on Fifth Avenue and 52nd Street. You can see the fancy Gilded Age social life that Whitney Warren was involved in. So he knew the Vanderbilt's socially. He went to their parties. He was really part of the Gilded Age in New York City. And of course, the other brother, Cornelius Vanderbilt II, he had William Morris Hunt design the breakers which was built and opened in 1895. Now, here's part of the story of Whitney Warren. We're back to Whitney Warren. In Newport, there's the Newport Country Club founded in 1893, and they decide to build a clubhouse a year later. And they form a syndicate. These are the members who are socially prominent and they're gonna organize an architectural competition for the design of the clubhouse. And you can see William K. is there, Cornelius II is there and the brother, Frederick Vanderbilt is also on this committee to choose the architect.  He wins the design and that's celebrated. And you can see it's a beautiful building overlooking the Atlantic Ocean and it's, so this is his first major project when he gets back from the Echo de Beaux Arts, gets back from Paris. And then the New York Yacht Club. Well, first of all, in 1898, Whitney Warren has a partner, Charles Wetmore, who's a wealthy lawyer. Well, the New York Yacht Club was founded in 1844 and they needed a new clubhouse from the first clubhouse on Madison Avenue. And J.P. Morgan owns some property on West 44th Street, so we donated that to the Yacht Club. And they announced an architectural composition. There were 11 submissions and Warren wins. He wins in 1899. By the way, Warren had submitted a plan for the New York Public Library but didn't win that architectural composition. Cornelius Vandervilt, William K. Vandervilt were members of the New York Yacht Club. And I think they influenced the choice of Whitney Warren to design the club. But on the other hand, Warren was a really fabulous architect and he understood the Beaux Arts style. You have a central space and I'm gonna point that out in Grand Central in a moment. And for the New York Yacht Club, you walk in the front door, there's a stairway that takes you up to a landing. You turn to your left and you go up into the model room and the building was designed around the central space. Down the street at the New York Public Library, the central space is the reading room on the third floor and the stairs bring you up to that space. That's a principle of the Beaux Arts. Well, what Whitney Warren does is he takes, he completely abandons a plan for a revenue building over the 42nd Street's facade. And what he does is he designs this classical Beaux Arts building, the building that we see today. Now, what the New York Central did was they forced Reed and Stem to join with Warren and Wetmore in associated architects. And that was something that was forced on Reed and Stem. They had no choice if they wanted to still be involved in designing the two-story underground train yard, for example. And William K. Vanderbilt played a key role in this. He demanded a monumental Beaux Arts building. He convinced J.P. Morgan what they wanted was a statement about their railroad and to some degree to themselves. This is the Vanderbilt's. And so they're gonna not only design Grand Central, they're gonna build Terminal City. And that's a perfect Beaux Arts project.  And the New York Central Railroad could do this because they were in control of that particular part of Midtown Manhattan. Midtown Manhattan wasn't a center of the city's commerce by any stretch of the imagination when this project begins. In fact, if you went over to where the UN is now, there were slaughterhouses. There was no refrigeration. You had to slaughter pigs and you had to slaughter cattle in order to have fresh meat. And then they just dumped it into the East River. And here's looking down Park Avenue. This is New York's Grand Boulevard, just like the Grand Boulevard's in Paris. You, and it's anchored by what was the New York Central building, which was designed by Whitney Warren. And then the buildings that you see coming up Park Avenue, I'm sorry, coming up Park Avenue are buildings that were thematic. They were Beaux Arts. They were to create this view down to Grand Central Terminal. And it extended from 42nd Street to 51st Street, including the Waldorf Astoria, and then the church that's next to, this was a huge project. And remember, going back here, the train tracks that were on 42nd Street are now underground. The terminal itself is now underground. And we, and so this deck is built over Park Avenue and it creates this terminal city. And it really is a Beaux Arts masterpiece, the whole design for the building. You have the central space is the Grand Concourse. All of the corridors come off the Grand Concourse and it included three hotels. The Roosevelt Hotel, the Commodore Hotel, and the Biltmore Hotel. And all of this is integrated. That was the Read and Stem plan. And that part of the plan was carried out. And then you have the facade and the facade is this Beaux Arts masterpiece. Well, it proceeds along and then the grand opening is on February 1st, 1913. And this is a beautiful picture of the Grand Concourse just the night before Grand Central was going to open. But getting back to William Wilgus, Wilgus is in part of this. He leaves the railroad in 1907 and he's not part of the service. And he's not part of the ceremonies opening this magnificent building in the heart of Midtown Manhattan. Well, by 1913, the railroads really did rule supreme. You've got to remember there were very few, there was some commercial airline service. But if you wanted to get anywhere as a passenger, you needed to ride these glamorous trains of the New York Central if you wanted to get to Chicago. You wanted to ride the 20th century limited. So it really was a time when the railroads were supreme. There was no interstate highway. If you wanted to ship anything across the country, you needed the railroads. So I think we'll stop here and take a brief break. I do have a few questions. Okay. Alrighty. So first one, how much control did Cornelius Vanderbilt's grandsons have over the plans for the new Grand Central Station moving forward from 1903? Now, they really were in, they were completely inferential in the particular part of it is to, is to replace the read and stem building with the Grand Central that we see today. That was the key part where they had a great deal of influence. And they insisted that Whitney Warren participate in that project, that part of the project. Okay. Okay. And I have a question because I remember from the tours we did at Grand Central Station, whatever happened to Wilgus and why did he leave New York City in 1907? Well, it's a complicated story. The electrification is taking place. And the first new electric engines from General Electric are pulling the trains back and forth into the old Grand Central. Well, in, in February 1907, a train leaves Grand Central, goes up through the Bronx. It's, it's late at night. It's going fast. It goes off the tracks in the Bronx and 21 people are killed. And it threatens the entire Grand Central project because the politicians say they're going to indict the two Vanderbilt third generation brothers. They're going to indict them for manslaughter. They're going to pass legislation that says you can't use electric engines on Manhattan Island. Well, everybody starts blaming everyone else inside the railroad and Wilgus gets caught up in that. And basically he resigns. And I found in his papers at the New York Public Library a brochure for the opening day. And he writes it's in his pen. He's written on with a pen. My name is not included. And it wasn't included, but he went on to a very, very successful career as an engineer. And, but that's why he left the railroad. Okay. But was he involved in the opening ceremonies in 1913? He was not. He was not included in the opening ceremonies in 1913. He was forgotten. Oh dear. Okay. There's another question from Linda and Tom. Who was Campbell and what is the background? The apartment. You know, I've, I've spent a lot of time in Grand Central around Grand Central. It was a space that they really didn't know what to do with. So a wealthy businessman Campbell used it as his office. And it become known as the Campbell apartment. Okay. Okay. So I'm going to, uh, Pat, I'll just, I'm going to stop my share here. Alrighty. And I'm going to get my next module. And I'm going to, um, I'm going to start that show. And then, uh, Pat, uh, I first of all, then have to share my screen. I'm going to open this. Well, we, uh, we left it at, at the railroads try triumphant. And that was true. And you can see some data there from 1910, but major, major changes about, about the happen. And that's, that's the highways and the highways come with, and you can see in, in 1931, uh, the city of New York, the Port Authority builds the George Washington bridge. And in the foreground is the tracks of the New York Central Railroad. By the way, the New York Central Railroad had to pay property tax on that property that they owned where they had their train tracks. They had to do that everywhere. Their, their tracks went. We build the highways at public expense in the sense that we, the Port Authority uses the tolls for the people driving over the bridge to build the George Washington bridge. And then in the highway, the highways take over. And what we do is we regulate the railroads. That's a story that probably needs another session, but there's great animosity toward the railroads as being all powerful. And so in 1906, we set up the ICC, the Interstate Commerce Commission, and we regulate the railroads and prices. For what the railroads operate go up, but they don't allow much of a, of an increase. And then the, that really it's the automobile age. And it'll 1900, there's only 8,000 automobiles in the United States. And then we build the interstate highway system. And the railroads can't compete. They can't compete with that publicly subsidized mode of transportation. And in the, in, in the New York metropolitan region, the electrification of Grand Central wasn't for just the terminal itself. We built the grant, the railroad built what are called the electric zones. And this allowed it allowed people to commute. So you could become a commuter. And the Long Island Railroad did the same thing out in Long Island. And that then allows for people to suburbanize, to leave the city. And perfect example of that is Levittown. And the people who, especially the veterans of the Second World War, who could afford to move to Levittown, thought they had died and gone to heaven. Even these are very modest homes, but it was much better than a crowded apartment in the Lower East Side. Well, what happens then is the city goes into a downward spiral. It's the death of the New York Central. It can't, in the Depression, it doesn't have a dividend. It's the automobile in the truck age after World War Two. And the railroads go bankrupt, basically. And in fact, the New York Central and the Pennsylvania Railroad, who were great rivals for a long, long period of time, they merged together along, basically, organized by the Congress in the United States. And they formed the Penn Central Transportation Company. And then Penn Central goes bankrupt in 1970. And all of us who remember going to Grand Central Station at this period of time, it was falling apart. The railroads had no money to maintain that structure. And it's the near death in New York. Jimmy Carter goes to the South Bronx. That looks like Berlin at the end of the Second World War. And all of us who knew New York at that period of time, you went to the East Village and the tenements were abandoned. And the street people took over. The squatters took over. West Side Highway is falling apart. They had to be closed. And then the city is ready to go bankrupt. And that's that famous headline, forward to the city, drop dead. And then there's the destruction. Pennsylvania Station was the rival of Grand Central. It was owned by the Pennsylvania Railroad. They built a tunnel under the Hudson River. Then a tunnel over to Long Island. They built a terminal building that was as magnificent as Grand Central. And not only did the city have Grand Central, it also had Pennsylvania Station. It was a Boards masterpiece. And it was torn down in 1963. They begin the demolition of Penn Station. And now was Vincent Scully, a famous architectural historian from Yale, said, if one entered the city like a god, one scuttles in now like a rat.  It's really awful to be there. Scully was right. Well, the New York Central is bankrupt. And what does it decide to do? It decides to demolish a building behind Grand Central in a baggage building and a parcel building. And then to sell that to a developer in 1962, that developer builds the largest office building in the world. And it overshadows Grand Central doesn't it does it to this day. You got to Grand Central and down Park Avenue. You can see how it overshadows everything else. And by the way, if you look at this particular picture on the right hand side of looking down Park Avenue, the original bow arts buildings with one exception have been replaced by a series of glass walled buildings, including the famous Sigmunds building. Well, Grand Central's at risk. Not only does what excuse me. The railroad says, well, look, if we've already allowed the Pan Am building to be built, well, we have space over Grand Central, air rights over Grand Central, and we can build another office building. And there were a series of proposals on the far left. You can see one that's directly over Grand Central. You can't see the you can't see the terminal any longer. Well, that was scaled back. And the railroad decided to go to the most one of the most prominent modern architects of the time, Marcel Brewer, and he had a particular design that the railroad said, yes, let's do this. If we if we if we built the if we built the PNM building, let's build this other building. Well, there's a real reaction here. And it's the public to the rescue. And it's led by Jackie Kennedy. And you can see Mayor Koch there on the right hand side. But the city in 1965 passes the landmarks preservation law. And Grand Central is designated as a landmark. It has landmark status. In fact, that's the second building in the city. That is designated a landmark. Well, this enormous court battle unfolds. The Penn Central goes to court and says, listen, this is a taking of our property without compensation. You can you can designate this as a as a landmark, but we want the equivalent of the revenue we would have received from our building. Well, this goes through, you know, it's in the supreme. It's goes, it's in the courts for a decade. And finally in 1978, the Supreme Court upholds the landmarks preservation law. But that doesn't solve the problem. The Penn Central now is bankrupt. The deterioration of Grand Central has continued. The roof leaks. Street people are living in in the tunnels down under Grand Central. It's a nightmare to go there. So they organize a rescue. Well, first of all, you first of all nationalize what's left of passenger railroads, passenger railroads, that's Amtrak. Then in the New York metropolitan region, you set up the Congress sets up Conrail. Then later, New York state and Connecticut, both charter the Metro North commute computer commuter railroad. And the MTA says, we're going to rebuild. They hire a number of firms. The most important one is buyer Bender Bell and buyer Bender Bell comes back and says, this is going to cost 90 to $100 million to save the building. Then they bring in consultants with cell partners and they had renovated Union Station in Washington DC and turned it into a destination. And that saves Union Station. And that's what they're going to do at 42nd Street. They're going to restore. And they're going to make Grand Central. Not just a place to go to catch Metro North, but to go, go and celebrate. So they start to restructure. They start to renovate and they have to rebuild the mechanical structure. This is what we don't see. I was down in front of that rotary converter there on the left hand side, which converts direct current to alternating current or I'm sorry, alternating current to direct current. And I was with a group of engineers from Metro North. And they said, you know, we were trying to run these things when we first came here. And he said, you know, we couldn't call General Electric. That was built by General Electric and order a part. We had to go to a machine shop and have them fabricate the part. So it was very expensive. It cleaned the exterior. They restore the, the famous Zeus and, and Hercules statutes that are fixed to the front of the, the building. They rebuild the lower concourse. They, they have a, they, they go to court and argue that the building is a private building. It can be closed at night. That gets them this then this, and they work with the city to have the street people who were sleeping in the building removed. They restore the Vanderbilt room they restore. And of course they restore the grand concourse. And that took a year to do or two years to do. I'm sorry, two years to do. And many of you might remember going to the grand central then, and they're doing the restoration and notice the bottom picture. They're cleaning the, the zodiac, the famous ceiling of grand central, which was covered in soot. And it turns out it was nicotine from the millions of people who went through grand central every day and people at the time smoke incessantly, and they had to just clean that off. And they restored it so we can go and we can see this. And many of you know that on the west side facade up on the, up on the ceiling, they left one patch of the ceiling, not clean to remind us of how, how bad it was. Well, it was, it really was a rebirth. It's a place to go, fancy restaurants, places to have a drink. The Campbell apartment is a very, very expensive place to stop in and have a libation, but it works because all of that high end retail, that revenue pays for the bonds that the MTA and had to float to get the money to do the restoration. So it has worked. And every year their high end retail produces more than enough revenue to pay those bonds back. So it was a success. And this is New York's really main plaza. It's certainly the plaza for the, for the midtown Manhattan. You know, if you're going to New York and you want to meet someone, you say, I'll meet you at the clock. That's by the way, we're Pat and I always start our, our, our tours of Grand Central. We just meet at the clock. Everybody knows where that is. It was a rededication in 18, 1980, 98. Jackie Kennedy was dead by that particular time. And John Kennedy there on the right, and Governor Putaki and then the president of the railroad and president of the MTA are there to celebrate the rededication of, of the restoration. And Grand Central celebrated its a hundredth anniversary on February 1st, 2013. I was involved in that and I'll just tell one quick story. I got in touch with the American Association of Architects. I'm sorry. The American Association of Mechanical Engineers. And they were going to dedicate a plaque. And I talked with the, the president in DC and then the New York president. And everyone was on the same page. And they said, no, we need a plaque to recognize. We'll guess his contribution. And that plaque was installed on February 1st, 2013. Well, the, the impact of Grand Central on New York and midtown Manhattan never ends. And many of you, some of you may know, they're bringing the Long Island railroad to Grand Central. And you can see in these schematics, they've dug down 90 feet through the rock below the lower level and use tunnel boring machines to bore out these tunnels under Park Avenue that you can see on the bottom left. And those tunnels will bring Long Island. An estimated 150,000 passengers a day on the Long Island, from the Long Island railroad to midtown Manhattan. Now they needed a new terminal space for this particular addition to Grand Central. So this is going to toss, it's going to cost by the way $10 billion to do this. The tunnels have been bored. I've been down there. I've seen them. It's fabulous. Well, what did they do? Well, a developer had bought the block next to Grand Central on 42nd Street. And they go to the city. They go to Bloomberg, the Bloomberg administration and say, we'll donate $100 million to this project to build this access to the Long Island railroad on Vanderbilt Place. However, we want to build the highest building in midtown Manhattan. And the city of New York said yes. So that's how they got the project done. And they're well on schedule now. But here's our last picture of Grand Central. And most of us are not ever up on the roadway that goes around Grand Central, but there's a statute there. It's there. It's below Hercules. And who's it? Well, it's the Commodore Vanderbilt. This by the statute was on a building they owned along the west side of Manhattan, way downtown near City Hall, St. John's Park, where they had a freight building. And they saved that and they put it on a pedestal for overlooking Park Avenue. So I'm going to end here. And I hope you enjoyed our, our online tour of Grand Central. We got to talk about the Bo Arts, which hopefully you can understand better now. And I thank all of you. I do actually have a couple of questions. Okay. If you don't mind. Not at all. Someone asked, where is the plaque to Wilkes located in Grand Central? It's located across from where you, where you, you can buy Metro North tickets. It's, I think it's, I should know this, shouldn't I? I think it's 44, track 44. And you can see the plaque there. I do remember, I do remember I'm picturing because when you and I did the tour with the New York alumni chapter, I can picture that as well. And Nina also asked another question back to the Campbell apartment. She had heard that it was used as a holding pen jail. Is that true? I don't, I've heard, you know, there's a lot of myths about Grand Central. I don't know the answer to that. It possibly is. There's also, by the way, people don't, most people don't know this, that in, in the very front facade of Grand Central, there's space up above where the statutes are. There's space up there. Right. That includes an indoor tennis facility.   So there's, that's where they run the railroad from. Well, Kurt, as always, it is such an honor to partner with you on these events. I cannot thank you enough for sharing your time, your talents and your expertise with all of us. I want to thank those who attended our tour today. And just to let you know, we will be continuing to provide life long learning experiences being zoomed. Our next is Thursday, April 30th at four, when we will take a visual journey of 19th century America through the art of Winslow Homer, with Professor Phillip Eliza. Do visit fairfield.edu backslash alumni events. And you can see everything that's going on with these online experiences throughout the university. Again, I thank you all so much. I look forward to seeing you again. Until then, be well and stay safe. Stay safe. Take care. Take care. Thank you. I'll see you on Monday. Stay safe. Yeah. Take care. Take care.


The senior staff Association of Nigerian Polytechnics of Federal Polytechnic Aduakiti has called on President Bola Akmatinibu to scrap the integrated payroll and personal information system IPPIS, citing irregularities, incompetence, corruption and fraud. Chairman of SSANIP in the institution, Comrade Sonday Akumolafe, made a call while addressing journalists during a peaceful protest by members of the Union at the Polytechnic premises. He alleged that the Polytechnic workers have suffered untold hardship due to irregularities in the payments of their salaries, non-remittance of their various deductions by IPPIS despite government approval. We are asking the federal government to permit all the activities of IPPIS in institutions since the beginning of IPPIS. Two, the many of our minimum wage arrears should be paid to us now. I understand that the director of IPPIS is in the U.S. today. While we are suffering here, we are asking the federal government of Nigeria, Laborable President Bola Akmatinibu, to take a course in investigation or listing investigation into the activities of IPPIS. IPPIS is a coded pipe with which our resources has been drained, it's been siphoned.  I want to tell you today, no staffer paid by IPPIS, no his exact salary. What they pay you in January will be different from what they pay in February. Are these what I say? No more IPPIS.


Hey, what's up? You guys welcome back to my channel if you're new here. Hi. Hello. I'm Lydia and today I'm gonna be talking about being a mental YouTuber So why did I start talking and documenting my mental health journey back when it already started that wasn't on this channel I was an old channel that no longer exists. Well, it exists Oh because I can't delete it. I got the password, but you know what I mean? I've documented my entire mental health journey on YouTube because I was inspired by a few YouTubers who who sadly don't upload anymore and actually met one of them, which was Lyra Lushan I don't know if any of you know who that is because I said she stopped uploading but I was inspired to make videos Documenting my mental health because I wanted there to be some record of it for me to look back on and And I know I'm not the only one going through it And I was thinking if I can help one person feel us alone and I've done something good The reason I do it now is still the same. My motivation hasn't changed I still do it because I want to help people something that you have to be serious about because The internet's brutal. You're making yourself vulnerable to everyone for me. It's no-brainer. I The first thing I think about doing When it comes to anything that changes in my mental health is YouTube Because I want to record of it.  If you look at my diet diary You'll see I haven't been in it for a month on my kind of thing. YouTube is my journal If you're considering making mental health videos, first of all consider what you want to talk about and consider what you're ready to deal with sharing Because once you put something online is online forever There are some videos that I wish I'd never made and there are parts of my life that I shared I wish I hadn't shared so if you are considering it just be mindful of What you're actually ready to share. Yeah, I really got to say on the subject It's just something people ask. I thought I'd answer it It's your new subscribe. Make sure you hit thumbs up button on the way off the video. Thank you to my patrons Thank you to my Twitter and Instagram followers and TikTok followers, and I'll see you guys in my next video Peace


SNES Drunk. Hi everyone, and welcome again to another episode of SNES Drunk Plays. This time I'm going to be playing Ken Griffey Jr. presents me a Julek baseball, once again one of my favorite games of all time. But the reason I'm doing this is because I get a lot of comments and stuff like that on the original video that I did, the original review of this game that I did that say this game is really hard, that they can't hit, every pitch they give up gets smacked for a Homer. So I'm going to play, I'm going to be my hometown twins here, and show you guys kind of a fail safe way to play.  And I don't remember if I changed the pitchers name to Clyde on purpose, but that seems to be his name here. That's my dog's name Clyde. Here we've got the rockin' theme for the national anthem, which is pretty funny. It's actually cool if you play this game in Toronto, you get the Canadian theme, which is a nice touch. Anyway, the key to pitching, see how the pitch bends there? You pitch start by holding down, and then bend like you're throwing a Hadouken, like Ryu or Ken in Street Fighter II. Never throw a straight pitch. The computer's going to swing at whatever you chuck up there, except apparently this guy. And if you get two strikes on him, move all the way to the opposite end, hold up, and curve away from him. And then he'll yell at you.  Now hitting is a little different. Hitting, you want to, what's always worked for me, I'm not sure if there's actually anything to this from a fundamental gameplay stance so far. No, too easy outs. But if you kind of, when you swing, you kind of move towards the ball. You start, I go all the way to the bottom of the box, as you can see. This pitcher has a pattern. I've played this game so many times. I know this guy. I know this is Juan Guzman, and I know he has a pattern. I'm just waiting for the right pitch to hit here. So you just kind of swing into the ball. I got lucky that wasn't caught by the first baseman there. Swing into the ball. Here I got a lefty Kent Herbeck up here. He's Adam West in this game. Yep. So you push it. It's almost like you're pushing it as you swing. So and obviously there's timing there. You got to get the timing down. That takes a lot of practice. I got runners on second third with Dave Winfield coming up or Jimi Hendrix as this game hasn't labeled for some reason. Oh, that was bad. Don't swing at that. But yeah, move to the bottom of the box and swing into the ball like you're pushing it. Please try. Damn. Blew a chance there. Yeah. That's the basics to hitting and pitching successfully in this game. Again, no straight pitches. Never a straight pitch. Sometimes they'll even miss and then you do on the opposite end of the d-pad with up. You hold up and move away from the guy to get him to swing and miss like that. Why can't you just do that every pitch? Because it wears the pitcher out faster and then you have to change pitchers and that's a hassle. Oh, I'm going to get this guy.  Nice. But yeah, that pitch does wear out a pitcher faster. I've come to find any. But yeah. All right. Let's try it again. Here. Sit down. Oh, come on.  It's not my fault. Okay. Yeah. Here we've got, yep, just looped it over. Nope. Doesn't get past them. Let's see if I can get some, scratch some runs across here. George Lazenby, aka Pedro Munoz. Uh-oh.  The other thing I should mention, here's Terry Jorgensen here. Oh, that's out of here, I think. If it goes through the wall, okay. The old RBI baseball through the wall home run. How far did that go? 398, not very, well, by this game standards, not very, not very far. And here we have Pat Mears, the old twins shortstop, who was not never a very good hitter. I'm going to try and bunk with this guy just to be dumb. That was terrible. What was I doing? Come on. That wasn't very good at all. Well anyway, what I wanted to, what was I saying? Yeah, the other key to this game is picking a decent team. The Minnesota Twins are very average. They have a good lineup, but very average pitching. The Toronto Blue Jays are a very, very, very good team. They're the defending world champs. They have Ricky Henderson, Roberto Alomar, John Olerud, Joe Carter, and then I think they have Jack Morris. I forget who their pitchers are in this time frame.  Come on. But yeah, the key is, if you want to be good at this game, is pick a decent team. They don't pick the Colorado Rockies or the Florida Marlins because they're expansion teams at this time, so they have terrible teams. There we go. Could be a triple play. Nope, he's too fast to first. Two big outs though. Get there, get there, get there, get there. Got there. Nice. Yeah, once in a while with the curved pitches, they will eventually run one down or they will hit one to the corner, hit a couple of home runs here and there. I've found it to be by far the most, I've been playing this game for 20 years, and that's what I've been able to do. Here's Kirby, Kirby with a line shot, Kirby Puckett, by the way, familiar with early 90s twins. But anyway, yeah, pick a good team, curved pitches, and push the ball when you swing. Either push it to the opposite field or pull the ball, move the opposite direction or, you know, if he's right handed, pull to left field, if he's left handed, pull to right field, that sort of thing.  I love the names. They all have themes, and for example, the Toronto Blue Jays, since they didn't have a player's license, damn it. They didn't have a player's license, so they couldn't use the official names of the players. They could use their likenesses and their stats and their numbers and all that, but they couldn't use their names. So what they did, there we go, so what they did is they just went crazy with the names and named them after whoever. In the twins case, it's basically just a big, there we go, that could be trouble. Over their heads, come on, I'm going to stretch this to three, it's going to be a triple for Dave Winfield, or Jimi Hendrix, as the game calls it. Jimi Hendrix can frickin crush the ball. Nice. Okay, anyway, yeah, the Toronto Blue Jays are actually named after a rugby team. I don't know any of them. Oh shit, I could have sent them. I thought he was going to catch that. Damn. I did not know, I don't know anything about rugby, but apparently the Blue Jays, if anybody out there knows anything about rugby, the Blue Jays are named after the, what is it, the Wigan Warriors? They play out of Greater Manchester, England in the Super League. I just wrote that down. I don't know anything about rugby. I thought that was really interesting that they really do get there. Such a weird collection of names. He's telling me, I'm going to get a lead off triple and he's going to get stranded there. Jesus, that was terrible. Anyway, yeah, I mean, there's the, what are some other examples? Like the San Francisco Giants, I think, are all the developers of this game. Boy, this team cannot hit. And they're the world champs and they have a really good lineup and that's that curved pitch. And I'm telling you, I swear by it and it works. So what are some other examples? Like I think, I know I'm just rambling here at this point. I know the Expo's have guys from like the Smiths and New Order and like, you know, those like 80s bands that came from England. The, what do you call it? One team is nothing but like old movie stars from the 30s and 40s. Like Audrey Hepburn and like Jimmy Stewart, Greta Garbo and all those people. And since the California Angels had, or California at the time, I think they're, they're, they're, they were owned by an actor, I forget his name. So they're all famous actors, famous American actors from, and everything from Humphrey Bogar and John Wayne and Fred Astaire. Those are all like, I've wrote some of the stuff down. Trying to kind of, got the bases loaded here. Kirby comes through, send everybody up, he's throwing home, damn. Come on, Adam West, aka Kent Herbeck, we get back, there we go. So what, what's the score now? Four-nothing after that two-run double-way Kirby on the bottom of the fifth against Elwan Guzman here. If you get five runs, the, the, oh, just missed that one. The computer will pull the pitcher if you get five runs against him. The starter, oh, how did I miss that one? Terrible, oh, and another weak, I'll just ran it. I'm still got four across though so far. So, and Clyde is showing no signs of wearing down yet. You'll see the pitcher just barely got him. You'll see the pitcher, was that Ricky Henderson it was? Oh, come on, get there. Oh, Kent Herbeck dives for it, but can't quite come up with it. And the pitcher will start like sagging his shoulders and like panting a bit. When he starts to get tired, that's a base hit. Oh, how did I miss that? Oh, that was a big screw up by me. Don't go to third, don't go to third. But dodged a bullet there. I'm gonna try and get a shutout here. Robbie Alomar, right to the guy, thankfully. Damn, yeah, I'm, I'm, I'm expecting to see my pitcher start to pant a bit. And when that happens, you probably already noticed there's a few miles an hour off his fast ball. I'm just gonna strike this guy out and see if he can hit this. I don't think he can. Another thing about doing that strikeout pitch is that it gets less, it's, it gets much harder to curve the ball like that, to bend it all the way to the side of the screen like that. There we go, got out of it. Um, it becomes much harder to bend the ball because the pitcher is tired, so he's putting less spin on the ball, presumably, I don't know, but, um, yeah, it, that pitch is less and less effective. It straightens out as the game goes on, or as the pitcher plays on rather. Boy, I'm not doing so hot here.  Come on. That was a terrible inning. Um, there is one other thing, one other piece of advice I should probably give, I completely forgot to mention, and that's turn auto-fielding on if you're having trouble with this game. Don't, don't even worry about fielding at first. Um, you can do that. It's, I've played this game so many times that I know exactly what to expect. Strike this guy out here. Eh, sit down. Um, yeah, the, um, just turn auto-fielding on. Um, and if you're getting, if you want to, if you don't want to do that and you want to do it all, not sure at all, then one important thing to remember when fielding, fly balls in the outfield or line drives, is that if you run towards the spot on the map that's indicated where the ball will land, don't overrun it.  So just run up to it and then let go of the d-pad and let the game do the rest for you. I see a lot of people when they play this game, um, when I play against them, they always overrun the ball and then they get kind of flustered and run, overrun it back and all you have to do is run up to the spot and let it take you into that spot.  That ball, that's gone. That's way out of here. Seek it. It helps me in the twins because they have like three really, really good hitters in their line up that rarely disappoint. They have Kirby Puckett, Kent Herbeck and Dave Winfield. Kirby just hit that one 447 feet. See, he just gave up his fifth run so he's changing his pitcher to some other rugby player. Um, and he put in the lefty to match the lefty here at the plate. Kent Herbeck, why did I swing at that? That was terrible. Anyway, we're just playing off the string here. I'm running out of stuff to say. That's going to drop for a hit. Nice. But yeah, I don't try and pull, I don't usually try and pull the ball unless it's with one of the best hitters trying to steal with Kent Herbeck here. It's not going to work. Um, it's, I guess, you know, I did say in my original review of this game that hitting is all timing. I guess that's not entirely true. I was probably a bit wrong about that, but, um, oh, damn it, I struck out with Winfield again. Geez. Um, it's timing and positioning. It's making sure your hitter is moving. See how he's like, my pitcher right there is kind of panting?  He's going to start throwing some meatballs there, but I can get out of this. But yeah, hitting is, you got to slide into the ball or away from the ball. I find it easier to sled. Yeah, just knock the guy over. It's one of my favorite parts of this game. Just knock him over.  He's not throwing me fastballs, but yeah, it's timing and it's also positioning to, um, of the batter sliding into the ball or away from the ball. So that's my two cents on how to hit and how to pitch in this game successfully. Get this pitcher out of here. I hate this guy. He's throwing me another junk. There we go. Good contact there. That's a double. Oh, I'd be remiss if I didn't mention the Metrodome. This is, this is the Toronto at Minnesota. So this game is being played.  The pitcher never does that.  Damn. The Metrodome is like the least enviable, what am I doing? The least enviable place to watch a baseball game on earth or at least it was till they tore it down. It was terrible. There we go.  Yeah, I got there. Nice. Yeah, it was a terrible place to watch a baseball game.  That's going to go over everyone's head. Nice. Shane Mack comes through. I'm going to send him, uh-oh. I'm in trouble. Shit. There. No.  A-Affia? Yeah. Anyway, yeah, the Metrodome, glad they tore that place down. Target Field is a thousand times better. Oh, my God, it's a real baseball park. Imagine that. It's a tremendous place to watch a game, especially sitting behind the plate where you got the skyline behind you or the skyline view, rather, to look at behind the stadium. Right now what I'm going to do, I'm going to take out my pitcher. He's tired. And I'm going to put in Rick Aguilera, or as this game hasn't listed as Werner Herzog for some reason. Yeah, he's got a beard. He just looks cool. And I like his delivery. And again, just curved pitches, nothing straight, especially to the meat of their lineup here. I think they got Joe Carter coming up next. Yeah. I might just try and hit this guy. Oh, I can't reach it. He's too far away. Damn. Swings anyway.  All right, one out away from winning this one, 7-0. There we go. All right. There you have it. That's kind of my tutorial here for how to be, how I'm successful at Griffey Baseball. I've been playing this game 20 years. That's how it works for me. There we got Kirby going 3-4-4 with 3-RBI, a homerun, Clyde the dog, pitched a hell of a game, 5 strikeouts, got the box score there, take a look at what the Blue Jays did. Oh, they did fairly well.  Pitcher went 6-2-3, and they always put some goofy headline up here, like for fun. Like I know one of them is like, players caught playing Game Boy and dug out or something like that. And yeah, that about does it. Again, curved pitch. I keep saying it a million times, but again, curved pitches. Keep the batter moving, move the batter in the bottom of the box and push him or slide him over as he swings. And for fielding, just let the player run to the thing and let the game do the rest of the work. Again, thanks for watching. I hope this was at least a little helpful and have a great rest of your day.


what do you call a droid who can't remember what the prime minister of india was? that's right an alia bot action i think it's a new malayalam film terrible so bad and they put out such bad content lately such corny hokey unbelievable acting and stories if you don't know us that was a joke welcome to the channel for the first time uh this is called sunny uh sunny say this thank you for the oh sorry jaya surya rancid sankar uh that's all we know see if i have i don't have it's an amazon amazon prime on amazon malayalam and it doesn't give me anything else and i'm sure the trailer won't either because that's right it's malayalam um but i'm sure the acting will be on point hey stretch stretch rick stretch stretch it looks good yeah it's interesting it so it reminded me a lot of uh if you guys haven't seen um i guess a little bit but more um um lock lock because it looks like it's one person in one place and the only interactions he has is on the phone yeah uh if you haven't seen lock it's basically that in a car if you want to know we talk about tom hardy a lock because he's one of the most respected and best actors of our generation uh and one of the reasons for that is that lock is what you should see when you want to realize what a tremendously incredible actor he is he's the only actor he's the only actor in it everybody else on the phone he's only in a car the entire 90 minutes there's no other sequences of flashback nothing it's him driving in a car at night for 90 minutes and you're riveted the whole time yeah uh so that's that's what kind of what it reminded me of it's going to be one person and obviously rajkumar and trapped as well but it doesn't seem like it has those kind of stakes in terms of him trying to get out it's more like i don't know if he has COVID or i don't know if he has some type of disease there's a psychological aspect to this because somebody hit the the swab and the the hazmat well somebody did but that doesn't mean that it happened because he said doctor i'm hearing the voices yeah yeah so i think this is going to be one of those what was the movie we saw that you really liked and i love love yeah it might be like love where you don't know what's who's real and who's not yeah yeah yeah exactly what i'd expect it looks great it's very possible and i don't think we're familiar with this actor i feel like i've seen him before why did i want to say like i felt like i'd seen him in jelly katsu or he kind of looks like the director with jolly taku um a little bit just a little bit a little bit he does i'm wrong with that well speaking of which when's his next movie coming out i don't know anyway um yeah uh at first glance i feel like i know him but i i can't pinpoint where i know him from wow look at this directed written in produced by ronjith samkar samkar is that him mm-hmm well we've got a lot of people but obviously those could just no no that's him that's sunny it's totally different because i am to be picture that beard kind of beard changes him a lot nothing recently huh yeah i don't think we i don't think we've seen him in anything but he looked good looked real good um so did it say when it comes out if it did i missed it this year it won't surprise me if they just dropped the trailer they're pretty quick to get it on the platforms it's gonna be probably a matter of just a few weeks september 23rd then it's up all right is it what day is the 24th oh so have you seen it if you've seen it we missed we're behind sorry guys um but i don't recall i don't recall any stupid babies sending me messages about this on instagram or twitter yet so that mean you didn't but i don't recall um so let us know if you've seen this one how is it is it worth a watch if not what should be the next malayalam film that we should watch down below