#Streamline NYC

[new-york-central-official]

One of our favorite pieces of artwork depicting a part of our grand rail system is featured here on the cover of a promotional pamphlet full of activities and information for people visiting New York courtesy of us. The New York Central Building was our headquarters until the bitter end, and it is rendered beautifully here dominating park avenue. It is (illegitimately) called The Helmsley Building today. On the table of contents a banner image containing the New York Central Mercury, a streamlined 4-6-2 introduced in 1936.

[1863-project]

Happy Mallard Day!

Most people in my country will be celebrating tomorrow, July 4th. I’m a bit unusual for an American in that I’m always more excited for July 3rd, because a remarkable feat of engineering history happened that day in 1938 (in multiple senses of the word). Today I’m going to tell the story of a locomotive named for a duck.

(Image: 4468 Mallard, a streamlined 4-6-2 Pacific locomotive, sitting pretty in York, England, United Kingdom. She is painted bright blue with red wheel spokes.)

The story begins well before July 3rd, 1938, of course - mechanical engineer Sir Nigel Gresley was well established in his position as the CME of the London and North Eastern Railway by that date. In 1923, his most famous creation, a 4-6-2 Pacific A1 numbered 4472, took to the rails for the first time. Originally numbered 1472, within a year of running between London to Edinburgh she received her more familiar 4472 after the LNER finally settled on a company-wide numbering scheme - and the name she’d be best known under, Flying Scotsman. She became the company’s flagship locomotive and solidified Gresley’s ability to design Pacifics in the mind of the public.

Her most important contribution to what I’m about to get into the meat of here, though, occurred on November 30th, 1934. On that date, pulling a light testing train behind her, Flying Scotsman hit 100 mph, becoming the first locomotive to hit that speed whilst being officially measured. Other locomotives may have reached 100 mph before, most notably GWR 3700 City of Truro and NYC 999, but this was the first time the speed was officially recorded, and so Scotsman got her name into the record books.

Dating back to the 19th century, railroads in Great Britain competed against each other in what was known as the Race to the North, in which they actively attempted to outdo each other and get passengers from the south, usually London, up to various destinations in Scotland. Nobody ever actually said they were racing, of course, but in retrospect it was pretty obvious what was going on as the railroads introduced faster and faster services. By the 1930s, the railroads had been consolidated into four companies - the Big Four (the Great Western, the Southern, the London, Midland and Scottish, and the heroes of this story, the London and North Eastern). The LMS controlled the West Coast Main Line, and the LNER controlled the East Coast Main Line. (This is important.) In 1927, the LNER started running the named train Flying Scotsman non-stop from London to Edinburgh, utilizing corridor tenders to perform crew changes at speed without stopping. Not to be outdone, the LMS beat them to the punch, running non-stop services between London and Glasgow and London and Edinburgh on their own, and it was officially on. Although speeds were still within a reasonable range at this point, both railroads knew they needed to go faster, and Sir Nigel Gresley looked to Germany.

In Germany, a new streamlined service called the Flying Hamburger had been introduced. This was a diesel train set that ran between Hamburg and Berlin at remarkably high speeds - it had an average speed of 77 mph and could hit around 99-100 mph at its maximum. For regular service, this was impressive, and Gresley wondered if the same could be done using steam power. He knew streamlining was the key, but the LNER knew that the diesels in Germany didn’t have the same passenger capacity as their steam locomotives could pull in carriages, so he needed to get creative. He looked to Bugatti for inspiration; their racecars, in their resplendent blue, were but one thing the car company was working on - they were making streamlined railcars, as well. Gresley took note of their designs, and his new locomotives would eventually pay homage by being colored Bugatti blue.

(Image: a Bugatti Type 54 racecar, painted in a vivid blue.)

By the time Flying Scotsman hit 100 mph in 1934 and another Gresley Pacific locomotive, A3 2750 Papyrus, managed to hit a whopping 108 mph without streamlining, the LNER knew that Gresley was capable of the task, and they allowed him to design a streamlined locomotive. Gresley set to work making improvements to his A3 design, and the first four A4s were born.

(Image: an unidentified A4 Pacific locomotive.)

The A4s were fast, hitting 112 mph on the inaugural run of the Silver Jubilee service between London and Newcastle in 1935. Gresley, of course, was not satisfied - he knew he could still improve his design, and at any rate, his competition over at the LMS was going to be trying to catch him. He went back to the drawing board to make the A4s even better.

As this was going on, the LMS was indeed playing catchup, and they introduced their beautiful Coronation class locomotives, designed to pull the Coronation Scot starting in 1937. The first several of them were streamlined in gorgeous, bright casings, and they caused a stir, taking the British speed record back at 114 mph in an attempt by 6220 Coronation that ended with a sudden braking and a whole lot of kitchenware being flung every which way in the dining car. Engineer/driver T.J. Clark and fireman C. Lewis kept her under control, but the passengers were not amused, and speed records were shelved for the time being...until, once again, Germany entered the fray.

Back in 1936, a German locomotive, the DRG Class 05, set a land speed record for steam, hitting 124.5 mph. Gresley was aware of this and had it in the back of his mind as he improved his A4s. He experimented with giving some of them a Kylchap exhaust system, an innovation developed by French locomotive designer André Chapelon after the work of Finnish engineer Kyösti Kylälä. Chapelon’s work went woefully under-acknowledged, but Gresley paid attention and appreciated his work, and it would pay off. Wind tunnel tests proved a bit frustrating at first until a fortuitous accidental thumbprint helped to move the smoke up and over the locomotive instead of in the crew’s faces, and the stage was set.

4468 Mallard rolled off the line at Doncaster Works on March 3rd, 1938, her name derived from Gresley’s love of breeding waterfowl. Indeed, many of her sibling locomotives were also named for birds, like 4464 Bittern, 4467 Wild Swan, 4902 Seagull, and 4903 Peregrine, but the duck was about to steal the show. Mallard spent the next few months getting used to working and being broken in so she wasn’t brand new, and on the day she turned four months old, it was time to make history.

Mallard’s driver that day was a 61-year-old grandfather named Joe Duddington. As a locomotive engineer, he was experienced and knew how to take calculated risks, and so he’d been assigned to pilot her. With him on the footplate was fireman Tommy Bray and his massive tattooed arms, ready to keep Mallard fed as they drove into the history books. They were performing a “brake test” that day, or so the LNER told most people, passengers included, but Joe and Tommy knew what was actually going on. In the cab with them was an LNER official, Inspector Jenkins, and attached to the train behind the tender was a dynamometer car, there to record Mallard’s speed throughout her run. Since this was an alleged “brake test” the dynamometer car didn’t raise any eyebrows right away. Gresley himself unfortunately wasn’t in the best health that day and was unable to be present himself, but there were enough LNER officials on hand to see to it that everything ran smoothly. Mallard was fitted with a stink bomb of sorts of aniseed in case the big end bearing for the middle of her three cylinders overheated, as the A4s had previously had difficulty with this, and she set out heading northwards. The return trip was where everything was going to get serious.

Upon turning around to return south to King’s Cross, passengers were finally informed of what was going to happen and were given the opportunity to disembark and take another train if they were worried, especially given what had happened during the LMS record attempt a year prior. Everyone agreed to stay on board. Joe Duddington turned his hat backwards, a reference to George Formby’s character in the film No Limit, and opened the throttle.

Mallard slid back onto the main line, headed towards Grantham, where the speed-up was to begin. Unfortunately, work on the track limited her to only 15 mph at this stage, and Joe Duddington got her through the Grantham station at only 24 mph instead of the 60-70 mph she should have been at. Nevertheless, she began to build up more and more speed as she climbed up Stoke Bank, and Duddington had her at a solid 85 mph at the summit.

“Once over the top, I gave Mallard her head, and she just jumped to it like a live thing,” Duddington recounted later in an interview. Her speed rapidly increased, and she was soon hitting 110 mph, at which point he told her, “Go on, old girl, we can do better than this!” Mallard responded, and by the time she was flying through a village called Little Bytham, a blur of blue paint and pumping rods and flying ash, she had well exceeded the LMS record and was even with the German DRG Class 05. The needle in the dynamometer car tipped up higher and higher and surpassed the Class 05 by slipping up to 125 mph...then, for about a quarter of a mile, reached even higher, at 126 mph. She’d done it.

Mallard had to slow down soon after because of a junction, but Joe Duddington and Tommy Bray were sure she could have gone faster had they not had to slow for construction - they believed she was capable of 130. The big end bearing did overheat, and Mallard was detached from the train at Peterborough and brought back to Doncaster to be fixed up, but not before one of the most famous photos in railroad history was taken:

(Image: the crew poses in front of Mallard, a 4-6-2 Pacific locomotive numbered 4468, immediately after setting the speed record. L-R: Tommy Bray [fireman], Joe Duddington [driver/engineer], Inspector Jenkins, Henry Croucher [guard/conductor]. Joe Duddington has turned his hat around to face the correct way again after having it on backwards during the record run. Photo credit: National Railway Museum.)

Joe Duddington actually stayed on a bit past his retirement age to help free up soldiers for the war effort. When he finally retired, on his final day of work, he drove Mallard one last time.

Sir Nigel Gresley himself never accepted the brief stint at 126 mph, instead saying his locomotive set the speed record at 125 mph. But history has accepted the 126 mph as the true top speed, given that Mallard was possibly capable of even more, and today she has plaques on her streamlined cladding to commemorate her feat. A second record attempt was planned to see if she could go even faster, but World War II broke out and the idea was scrapped.

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Tommy Bray eventually got on the throttle himself, fulfilling his own dreams. Both men are honored in a cemetery in Doncaster with a new memorial headstone for Duddington featuring Mallard on it.

As for Mallard herself, she continued working until April 25th, 1963, at which point she’d clocked nearly a million and a half miles in service. She was pulled for preservation for obvious reasons, and today she lives at the National Railway Museum in York, along with her dynamometer car that recorded her history-setting run. Five of her A4 siblings also survive, and a few of them are operational to this day, including the one named for her designer, Sir Nigel Gresley. Of all of his ‘birds,’ the one that flew fastest was the humble duck.

For more on Mallard and her creator Gresley, here are a few resources:

Mallard: How the Blue Streak Broke the World Speed Record by Don Hale is a great book on the subject that I enjoyed thoroughly. It does have a Kindle edition if you’d prefer an ebook variation, as well, and most major book retailers carry it on their websites.

The National Railway Museum, Mallard’s retirement home, has a 3D experience/ride of sorts that simulates what it was like to be running with her that day, the video of which is online here. Note the music, which mirrors her three cylinders pumping away. The video isn’t able to be embedded, but you can watch it here. There’s also a child-friendly version, too.

Lastly, the appropriately named prog rock band Big Big Train did a song about Mallard called East Coast Racer, which regularly moves me to tears because this locomotive means so much to me and they tell her story so lovingly.

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I actually recommend checking out the live version, too, because they show the photo of the crew at the end and every single time I start sobbing.

If you want to visit the old girl herself, she’s at the National Railway Museum in York in the UK, and they have a ton of amazing resources and incredible locomotives and rolling stock in their collection. I’d highly recommend checking them out if you can!

Happy Mallard Day, everyone. Fly far, fly fast, make history.

[andreablog2]

I feel like more people in NYC need to be aware of Peter Thiel and the connections these downtown people have it’s lowkey a cult

It’s not even just “downtown nyc people” but from what I’ve read he’s funding things like a pronatalist.org, rumble/callin (video and podcast streaming services, that’s kind of becoming a less obvious Prageru), something to do w accelerationism, an antiwoke film festival, famously red scare, he also owns like the biggest net surveillance company which has been associated w the cia, was trumps political advisor, most likely a pedophile, breakout labs in sf which is this scientific research grant system that’s mainly focused on like… longevity science and so much more probably. It’s not even just him, billionaires are trying to streamline the discourse on online communities through mimetic warfare, he also has a company that grants money to people who want to write abt mimetic theory? …I guess that sort of discourse terraforming could translate into the cultural happenings of an actual geographic location….in this case “downtown nyc” just bc only a certain amount of artists can make it in a place like that and money from a billionaire probably helps. I’m sure he has something to do w indie sleaze too. But people into those rich person burgeoning art scenes that take space in perpetually gentrified neighborhoods aren’t necessarily known for their spines or integrity so I could see people being influenced by a substack alone which is crazy. The interests of gentrification and the interests of anti wokeness aren’t necessarily in opposition to one another. But his scope is larger than that trust fundian mapplethorpe idolist niche honestly. I’d love to hear more about what other cultural ventures he’s funding it’s kind of insane. I don’t even think he’s in charge of the narrative I think he’s still in bed w the cia honestly or he has some kind of agreement w whoever comes to him w their wishes for society?

[november-rising]

The Bear: Season Two, Episode Nine - Omelette

This not-fully-plotted-or-planned post is the fruit of a conversation between myself and @unladyboss (including their observations of Carmy). We were supposed to rewatch THE SCENE from that episode to share our interpretations.

But I tend to do too much which means I watched the whole episode.

It’s been months since I’ve seen Omelette. I certainly remember the significant moments. But, seeing the whole story, allowed me to gain more appreciation for this episode and the show in total.

The driving force – the theme of this episode was focus and unfocus. The writers beat us over the head with the amount of times the word ‘focus’ was said. Yes, I knew this was a crucial arc of the season but watching this play out was fascinating.

We, the audience, are not just told about focus but are also shown how the characters have become streamlined, honing their skills and talents - becoming focused.

In no particular order:

Ebra working on his Serve Safe Certification during prep.

Tina leading the other chefs with precision.

Natalie reviewing the upcoming weeks to keep revenue coming.

Richie commanding the pre-dinner staffing.

Gary and Fak stepping up to be the informants of customer experience/enjoyment.

Marcus using his creativity to craft new desserts.

Uncle Cicero supporting Carmen in those moments leading up to the soft open.

Sydney utilizing her voice to demand respect and to be vulnerable.

Carmen realizing that there is something so important in his life.

Each character was finding purpose, embracing it, and owning their worth. To me, they felt solid and assured. That is everyone except Carmy whose focus wavered throughout.

And that is his greatest fear. Consistency…calm – a focus of his own choosing.

He knows chaos. That’s what his brain and body have become accustomed to due to years and years of childhood abuse and the verbal abuse of that one NYC Chef. Frenzy, hecticness, hypervigilance, planning ten steps ahead, anxiety, disappointment, shame, guilt, anger…so much anger…

These are emotions and “coping skills” that Carmy has depended on his whole life. He tries to mask them, burying or transforming them into his culinary expertise. But here, at The Bear – back home, Carmen is faced with too much stability. He doesn’t know what to do with it.

The expectations that have been placed upon him (internally and externally) are a lot, sure. But he seems to roll with those punches. And he has managed to trust in those around him. That is overwhelming. Things are going fairly well in his life. That is overwhelming. He's dating and taking some semblance of control of his life. That's overwhelming. His vision for the restaurant he wanted to start with his brother is coming true. That’s overwhelming. He has a trusted person standing side-by-side with him in the BOH. That’s overwhelming.

Though Mikey is the catalyst to opening a new restaurant, it’s all the people who are here now that have made it work.

I don’t think Carmy can manage that knowledge. He’s so okay with being alone and driven and self-harming himself in the sense of constant work, lack of self-care, not eating properly, pushing passed exhaustion – you get the picture. He’s not okay in knowing that there are people who genuinely care about him and his dreams; and they have stayed.

People stay.

Sydney stayed.

I believe that’s why he thought of her during his panic attack. Being near her allowed the conversation about Sydney’s mom to happen. He can focus when she’s around. That’s why, when Syd corrected Nat that the fridge guy’s name was Tony, Carmy was in perfect sync. When watching that moment, I thought: “Jinx! You owe her soda!” LOL!

Then there’s the table scene which was utterly glorious. It highlighted his vulnerability concerning his fear dating Claire who was “great”. Carmen doesn't believe he deserves greatness. It's not for him. It's for everyone else.

Under that dang table, he showed his hesitations all the while noticing Sydney. He values her. He made sure she knew.  Towards the end of that scene, the way he looks at her before turning away to go get THE gift, was wow. To me, it seemed like a lightbulb clicked in his heart and soul.

Sydney matters so much to him. He doesn’t want to fuck up for her. But he knows he will. He always does.

[hazel-of-sodor]

Ever read the “facts-I-just-made-up” post about the Mercury Streamliners?

https://www.tumblr.com/facts-i-just-made-up/132547467233/dieselpunkflimflam-titovka-and-bergmutzen-one?source=share

On a separate, slightly related note, I heard that one of NYC Mohawks were saved by being hidden in the back of the shed and covered with a tarp, but they also claimed it was the only one of two NYC locomotives saved, which Wikipedia disagrees with

I get its a joke post but the historical inaccuracies are sooo frustrating. For example, Germany wasnt close to making a nuke in WWII. and German command had realized that as early as 1942.

And no, IRL the NYC Mohawks (both of them), had been sold to different railways before the NYC chose dieselization. They survived because they weren't on the New York Central.

[whyceasefirefaq]

How To Turn Your Wheelchair's Elevating Footrests Into An Everyday Protest In Solidarity With Palestine

So, in the last post, I talked about the struggle of when you're an activist who is in solidarity with Palestine but lacks access to most protests due to inaccessibility and/or the need to be COVID-cautious. RELATED: New Idea! (+ POV: You’re A Disabled Jewish Activist Protesting The Palestinian Genocide In A Time Of COVID)

And while I'm still figuring out what are the best ways I can contribute to the collective effort to stop the genocide and end the occupation, one of the ideas I had was to turn my wheelchair into an everyday protest. ATTACHING A SIGN TO YOUR ELEVATING FOOTRESTS I decided to start by attaching a protest sign to the external part of the elevating footrests aka the part that everyone sees. I noticed that it's also the part that people tend to gawk at the most, thus making it a prime spot for a protest sign. WHAT YOU WILL NEED a protest sign (you can use one from this outreach project or make your own) a piece of cardboard for the back clear packing tape (or equivalent)

The trick is to make sure the tape wraps around to the inside part of the footrest aka where your feet go, so it's secure. Also, I found I needed to do this at least twice. Taping it once was not enough (and thus my comment in the last post.) I also want to add things to other parts of the wheelchair but that'll be for another post because spoons. (If you know, you know.) That said, are you also decorating your wheelchair (medical equipment, car, bike, self, etc) in daily or near-daily protest of the genocide? I'd love to see what you've done or what you want to do if you had the spoons! You can find me @ rebelwheelsnyc on Twitter & Instagram. You can also message me via Tumblr if you have an account or email me at rebel wheels NYC @ gmail . com (but with no spaces). Please don't send attachments. [image descriptions 1st image: protest art based on the wheelchair symbol. but instead of a blue and white theme, the background is 3 thick horizontal stripes (black, white, and green) like the Palestinian flag. and the wheelchair symbol (a person in a manual chair) is the red of the flag, only the fill is a poppy flower and there's a keffiyeh around the neck. there's also a poppy flower inside the empty space in the wheel. in a small font, in the lower right-hand corner, it reads: @ rebelwheelsnyc 2nd image: photo. motorized wheelchair. in my apartment. elevating footrests are raised & extended. a protest sign has been taped to the outside of the footrests. can also see other bits of the wheelchair. The sign. horizontal rectangle. white & yellow border. within this a pink rectangle with red triangle pointing toward the right. text, bold & each word has its own black rectangle behind. main text: "don't be silent in times of genocide". Every word is white except silent which is a golden yellow & genocide which is green. Below, smaller font, blue, black rectangle behind words: "not in my name". Below in white: "(this is not up for debate)" below that, smaller text, URL "why ceasefire faq.tumblr.com." Lower left-hand corner within the pink, a small Palestinian flag. right of main text, vertical watermelon slice. in the upper right-hand corner a QR code that leads to a petition  [2nd image description was streamlined to fit in the image description character limits of Twitter] 3rd image. A photo of the black footrests of my motorized wheelchair. The leg rests are elevated and extended. One part of the leg rest is missing. There are also some stickers that are anti-ableism in nature. But you can see that the clear packing tape is wrapped around the internal portion of the footrest.]

[ofzahras]

[ aiysha hart, cis woman, she/her ] — whoa! ZAHRA HAMED just stole my cab! not cool, but maybe they needed it more. they have lived in the city for TWO MONTHS, working as a POSTDOCTORAL RESEARCHER. that can’t be easy, especially at only 34 YEARS OLD. some people say they can be a little bit OBSTINATE and RESTLESS , but i know them to be OPEN-MINDED and RESOURCEFUL. whatever. i guess i’ll catch the next cab. hope they like the ride back to QUEENS! — 

here's zahra's pinterest for the vibes.

FULL NAME: zahra hamed DATE OF BIRTH: may 11, 1990 GENDER & PRONOUNS: cis woman, she/her

ORIENTATION: bisexual OCCUPATION: postdoctoral researcher PLACE OF BIRTH: minneapolis, minnesota  FAMILY: mother, father PETS: a black cat called circe

HEIGHT: 5′10′’ HAIR COLOUR: dark brown EYE COLOUR: dark brown

trigger warnings: mentions of religion, infertility, emotional distress, and smoking.

she’s an only child, born to a mixed race and interfaith family. her christian mother and muslim father brought her up in an environment where questions were encouraged and zahra was taught to argue her views and research new ideas.

despite her status as somewhat of a miracle child - her parents had already come to accept they wouldn’t be able to have children of their own due to a host of fertility issues - zahra grew up knowing a lot was expected of her. both of her parents had grown up with very little and had been able to use education as their way out of difficult home situations. she doesn’t resent her parents in the slightest, but sometimes wonders what her life would now look like if she been given just a bit more space and freedom to discover and make mistakes. still, she’s grateful for the drive her parents instilled in her as it has helped her to keep going even during times of distress. that being said, she has unfortunately picked up a host of rather unhealthy coping mechanisms for said stressful situations.

after graduating from high school at the top of her class, zahra packed her bags and moved to durham, north carolina, where she would go on to attend duke university, studying religion and philosophy. she later completed her phd in columbia university, writing her thesis about religious dialogue and pluralism.

while her life hasn’t always been easy or uncomplicated, it has been rather streamline. she has struggled and put in an enormous amount of hard work to get where she is now, but things have generally gone well for her. however, she has recently gone through something of a personal crisis and is really struggling to find her feet again. to put it simply, zahra has become wildly disillusioned with the academia and is suddenly really not sure she’s happy with her choices in life.

her postdoctoral research has now taken her back to new york city where she conducts research in and around the city. well, that’s what she’s supposed to be doing. however, she has run into a real slump and is struggling to get anything productive done. her self-esteem has taken a hit due to the resent developments, as her sense of self has been so deeply intertwined with her academic and professional success. she previously did a disappearing act, leaving her life in nyc behind, and is currently trying to get her shit together. trying being the operative word. she knows she doesn’t have the time to fuck around, but that’s kind of exactly what she’s doing.

will become visibly grumpy when asked about the state of her research project. that being said, she is procrastinating by researching other things, and has, amongst other things, taught herself french while trying to avoid all her responsibilities. she will soon start picking up and abandoning all sorts of fun pastimes in the hopes of distraction.

while she can be bit of a hermit - she spends most of her time alone, trying desperately to read and write, or avoiding said activities - zahra isn’t the sort of shy, serious person people might expect her to be. she can be incredibly talkative and opinionated, even downright bossy, and genuinely enjoys meeting new people. sometimes she just needs a friend to drag her outside.

looks kind of intimidating unless she’s making a conscious effort to appear approachable. while evidently very intelligent and well-meaning for the most part, zahra sometimes struggles when it comes to socialising and pleasantries.

zahra back arrived to nyc around two-ish months ago, so here are some super vague connection ideas for anyone interested!

the stress has led to a lot of sleepless nights, resulting in her becoming a real night owl. she can be spotted frequenting places that are open late, and can be found chain-smoking and scrolling endlessly on social media. she would've undoubtedly run into some folks with similar schedules and habits.

any people with fun, interesting hobbies. after forming some sort of a connection, she would undoubtedly pester these individuals to teach her stuff. your girl needs to be distracted from the looming doom of her research project.

zahra enjoys noisy music. so, a person willing to accompany her to gigs around the area. she's happiest when it's so loud she can't hear her own thoughts.

definitely people she met while doing her phd in nyc. she left the city a few years ago, but would've spent around five-ish years there before skipping town. she would've definitely had friends and even little romances during that time.

[rabbitcoolcars]

Mercury was the name used by the New York Central Railroad for a family of daytime streamliner passenger trains operating between midwestern cities. The Mercury train sets were designed by the noted industrial designer Henry Dreyfuss, and are considered a prime example of Streamline Moderne design. The success of the Mercury led to Dreyfuss getting the commission for the 1938 redesign of the NYC's flagship, the 20th Century Limited, one of the most famous trains in the United States of America.

The inaugural Mercury trainset was taken on an exhibition tour throughout the New York Central system in late June and early July 1936. The train was displayed and christened in Indianapolis on June 25, then made exhibit stops from Indianapolis to New York City, where it was displayed for two days at Grand Central Terminal on June 28 and 29. In Chicago, it was estimated that about 17,250 people viewed the train in one day when it was on display on July 6 at LaSalle Street Station.

The first Mercury, operating on a daily roundtrip between Cleveland and Detroit, was introduced on July 15, 1936. The Chicago Mercury, between Chicago and Detroit, and the Cincinnati Mercury, between Cincinnati and Detroit, followed. The Mercurys lasted until the 1950s, with the final survivor, the original Cleveland Mercury, making its last run on July 11, 1959.

The Mercury gradually lost its special appeal as newer, faster trains were developed and automobiles and airplanes became the preferred mode of travel. It was used for regular runs between Cleveland and Detroit until service was phased out in July 1959.

Above: New York Central's all-new "Mercury" on display at Toledo Union Station, Ohio, on July 2, 1936. Photograph by George Blount.

[mariacallous]

Absolutely, yes.

It's also giving the GOP and right-wingers here in NYC and other places a new cause to rally around and amplify their "tough on crime" rhetoric.

They can portray Eric Adams's (and by extension the Democrats') NYC as besieged internally by criminals empowered by the softness of woke criminal justice policies and then swarmed from the outside by "illegals", completely alien and foreign to Our Great City.

Things aren't getting streamlined or working better, migrant/asylum seeker children are having to try to navigate the NYC Schools system (among others) and get blamed for "native" or "real" NYC children not getting spots or having issues, there isn't enough housing and the housing there is is fucking expensive, along with groceries...

[zponds]

What-If: American Railroads — Section 4: History (part 1)

I’ve finally reached the big part of this whole alternative history; the history itself. The history itself begins before World War II begins in 1939.

June 1935 - After 8 years of delivering 4-6-4 Hudsons and 4-8-2 Mohawks to New York Central, ALCO (American Locomotive Works) takes a new approach to producing steam locomotives; building them in groups rather than one at a time (like what EMD would later do with diesels). Right off the bat, this transition has proven successful as more steam locomotives are being built and delivered at a quicker pace than before. And it doesn’t take long for ALCO’s chief competitor, Baldwin Locomotive Works, to take notice and do the same production pace to stay competitive… and Lima Locomotive Works starts doing the same thing.

1945 - 1946 — After World War II, New York Central orders 25 extra 4-8-4 Niagaras from ALCO (American Locomotive Company). And these 25 extra Niagaras are S1c Niagaras, and these S1c Niagaras burn oil rather than coal. By September 1946, all 25 S1c Niagaras were delivered, bringing the total of Niagaras in New York Central’s fleet to 50.

1946 - 1950 — In May 1946, Lima Locomotives Works proposed a new wheel arrangement for a steam locomotive; 4-8-6. Chesapeake and Ohio got a few of these new 4-8-6’s to test them out, to which C&O have the 4-8-6 wheel arrangement the name, the “Ohio” name. Now C&O usually classified the J letter for their 4-8-4 “Northern” steamers, but they gave the J letter to their 4-8-6 “Ohio” steamers. The first Ohios were given the J-4 class. The new 4-8-6 Ohios proved to be the next step in Lima’s advancements in steam locomotive technology after the 2-8-4 “Berkshire” type. In 1947 to 1948, Chesapeake and Ohio ordered 3 M-1 steam turbine locomotives from Baldwin Locomotive Works and Westinghouse for The Chessie streamliner, and C&O also ordered more 4-8-6 Ohios from Lima as a plan B in case the M-1’s weren’t good enough for The Chessie streamliner. When the M-1 steam turbines proved to be too expensive to maintain, C&O was quick to order more J-4 Ohios, as well as the 4-8-6 J-4a steamers, which had the same streamlined shrouding style as the C&O 4-6-4 L-1 Hudsons. When The Chessie streamliner was launched in 1950, it was a huge success, mostly thanks to the J-4a Ohios. And late by 1950, C&O had 60 Ohios in total in their roster thanks to Lima’s fast production rates (and Lima made and delivered C&O’s Ohios as fast as when they delivered NYC’s L4 Mohawks). However, during all this, it did not take long before other railroads caught wind of the 4-8-6 Ohios and their huge potential.

1947 - 1951 — While Chesapeake and Ohio was testing and using the 4-8-6 Ohio steam locomotives, other railroads began to take notice, and those railroads were… New York Central, Milwaukee Road, Union Pacific and Southern Pacific. When New York Central, Union Pacific and Milwaukee Road ordered 4-8-6 Ohios, Lima worked hard and fast, as fast as when they made and delivered the L4 Mohawks from 1943 to 1944. As for how many, New York Central ordered 50 Ohios, Union Pacific ordered 45 and Milwaukee Road ordered 40. When New York Central’s 50 4-8-6 Ohios were being delivered, they called their 4–8-6 locomotives “Brooklyns”, after the Brooklyn River. 12 of their 4-8-6 locomotives were streamlined for the 20th Century Limited and Empire State Express. 10 4-8-6 locomotives were given the same streamlined shrouding style as the Dreyfuss Hudsons and the last 2 were given the same streamlined shrouding style as the Empire State Express Hudsons. As for the other 38, they remained default and weren’t streamlined and therefore joined the 50 4-8-2 L4 Mohawks and the 50 Niagaras (25 S1b and 25 S1c) in pulling Pacemaker trains (both the Pacemaker passenger trains and the Pacemaker freight trains), Fast Mail trains and milk trains. As for Union Pacific’s Ohios, 15 of their Ohios were given the same streamlined shrouding style as 4-8-2 MT-1 #7002, and Union Pacific even ordered new leight-weight coaches for the Forty-Niner (49’er), fully streamlining the train, and the coaches were given the same colors as the streamlined Ohios. With all that, Union Pacific renamed the train set to the Forty-Niner Express. When Union Pacific fully streamlined the Forty-Niner Express, they gave their streamlined Ohios a new car that would change steam engines; the water tender. With a water tender, a steam locomotive can go for longer distances without stopping to refill on water as often. After Union Pacific introduced the water tender, it didn’t take long for the other 19 railroads; New York Central, Pennsylvania Railroad, Chesapeake and Ohio, Baltimore and Ohio, Illinois Central, Gulf Mobile and Ohio, Norfolk and Western, Southern Railway, Seaboard Air Line, Atlantic Coast Line, Santa Fe, Southern Pacific, Northern. But as for the Ohios of the Milwaukee Road, all 40 of their Ohios were streamlined, with 10 of them receiving the same streamlined shrouding style as the 4-4-2 Class A locomotives, with 10 others receiving the same streamlined shrouding style as the 4-6-4 Class F7 locomotives, with 10 others receiving the same streamlined shrouding style as the 4-6-2 Class F3 locomotives, and the last 10 receiving the same streamlined shrouding style as the 4-6-0 Class G locomotives. Once the 40 Ohios were streamlined, they joined the 4-4-2’s, 4-6-0’s, 4-6-2’s and 4-6-4’s in pulling most of the Hiawathas such as the Twin Cities Hiawatha, Midwest Hiawatha, North Woods Hiawatha and Chippewa Hiawatha. As for Southern Pacific, they ordered 30 4-8-6 Ohios from Lima and all were given the same streamlined shrouding style as the 4-8-4 GS-4 steam locomotives and were put to help the GS-4’s with the Daylight streamliners. Once all these 4-8-6 Ohios were delivered, they proved to be the next one of the great steam engines.

[wedesignyouny]

Removal of DOB Violations in NYC: An All-Inclusive Guide to Guaranteeing Adherence

DOB Violation Removals in NYC: A Comprehensive Guide to Ensuring Compliance

Introduction:

Navigating the world of Department of Buildings (DOB) violations in New York City can be a daunting task for property owners and businesses. Whether you’ve recently received a violation notice or want to proactively ensure compliance, this blog post will provide you with valuable insights and steps to facilitate DOB violation removals. In this article, we’ll shed light on the importance of addressing violations promptly, the common types of DOB violations, and how you can partner with experts like TruArt Sign Co. to rectify the situation efficiently. Let’s delve into the world of DOB violation removals in NYC.

Understanding DOB Violations:

1.1 What are DOB Violations?

1.2 Importance of Addressing DOB Violations Promptly

1.3 Common Types of DOB Violations in NYC

The DOB Violation Removal Process:

2.1 Initial Assessment and Documentation

2.2 Filing Necessary Permits and Correcting Violations

2.3 The Role of Licensed Professionals

2.4 Working with TruArt Sign Co. for DOB Violation Removals

Benefits of Hiring a Professional DOB Violation Removal Service:

3.1 Expertise and Experience in Dealing with DOB Violations

3.2 Ensuring Compliance with Building Codes and Regulations

3.3 Streamlining the Removal Process and Minimizing Delays

3.4 Mitigating Potential Penalties and Fines

Partnering with TruArt Sign Co. for DOB Violation Removals:

4.1 TruArt Sign Co.: An Overview

4.2 How TruArt Sign Co. Can Help with Violation Removals

4.3 Success Stories: Testimonials from Satisfied Clients

4.4 The TruArt Sign Co. Advantage: What Sets Them Apart

Tips for Preventing Future DOB Violations:

5.1 Regular Maintenance and Inspections

5.2 Staying Informed about Building Codes and Regulations

5.3 Leveraging Technology for Compliance Monitoring

Conclusion:

When it comes to DOB violation removals in NYC, addressing the issue promptly and efficiently is crucial to avoid further complications and potential penalties. Understanding the types of violations, the removal process, and the benefits of hiring professionals like TruArt Sign Co. can significantly expedite the resolution of violations and ensure compliance with building codes. By partnering with experts in the field, you can rest assured that your property or business will be in safe hands, and you’ll receive expert guidance throughout the entire process.

[taylorswiftstyle]

Out and about | New York City, NY | December 12, 2023

Stella McCartney ‘Skyla Chain Embellished Boots’ - $970.00

On her birthday eve, Taylor was spotted out again in NYC in a black and tan ensemble that I think suffers primarily from two competing ‘spotlight’ grabbing items that feel like fashun twists on closet staples. A trench rendered in unexpected leather, and black heeled boots with oversized elements like a chunky chain and matching textural sole.

While I’ve loved the outerwear by Stella that Taylor has worn recently, this marks two Stella McCartney shoe choices in a row that I am not a fan of. My preference would have been a simple streamlined heeled boot. Though I can appreciate how the chain detail on these boots are a reference to Stella’s iconic handbags while also tying in to Taylor’s bag hardware.

Worn with: Gant coat, Versace bag, and Louis Vuitton + Cathy Waterman jewelry

Photo by Gotham via Getty Images

[1863-project]

I've been seeing screenshots of this tweet making the rounds lately:

I did a thread on Twitter adding some historical context, but it's easier to write long-form stuff on websites like Tumblr, so I'll do it here, too.

This is a screenshot from a 1944 election propaganda film called Hell-Bent For Election. The locomotives do indeed represent FDR (left) and his rival, Thomas E. Dewey (right). Dewey would famously try to run again in 1948 and was considered the favorite against Harry Truman, leading to the famous Dewey Defeats Truman newspaper headline. The film was directed by Chuck Jones (yes, that Chuck Jones) and distributed by United Auto Workers. It was made amidst WWII, and it isn't subtle about making sure the viewer knows a vote against FDR is a vote for Hitler. (Weirdly enough, there's a character that can easily be read as an antisemitic caricature trying to get the protagonist to vote for Dewey despite what we know was happening in retrospect; this is actually quite jarring and uncomfortable from a historical perspective.)

OP probably doesn't know this, but FDR isn't being depicted as a bullet train. The Shinkansen doesn't show up until the 1960s, and at any rate, the US was very much at war with Japan at the time this film was made, so there's no way FDR would be depicted using Japanese railroad technology even if it did exist at the time. What he is being shown as, however, is a streamliner.

Notice this gap here? Streamlined steam locomotives usually still had their drive wheels exposed to a degree to make maintenance easier. In particular, FDR resembles a New York Central Mercury (4-6-4 Hudson) with his chin as an added cowcatcher.

The streamlined cladding for the Mercury was designed by Henry Dreyfuss, who would go on a few years later to design arguably the most famous streamlined NYC Hudson locomotives: the Dreyfuss Hudsons.

You can see a bit of influence from these in the FDR locomotive, as well, as it has a ridge along the top. These pulled prestigious passenger trains known for high speed, including the flagship 20th Century Limited. FDR was, of course, from old money and could afford that sort of thing, but that's likely not the reason they depicted him as a streamliner here.

Streamlined locomotives emerged in the 1930s despite the economic hardships in the United States at the time. They were designed to evoke a sense of speed and modernity, and they represented a society moving forward. By depicting FDR as one, it projects a sense of strength, especially in comparison to the tired old Dewey locomotive, which looks nearly half a century old. This was a crucial portrayal considering that FDR had polio (or possibly Guillain-Barré Syndrome, another explanation) and due to ableism he had to hide that affliction to avoid being seen by opponents (both political and wartime) as "weak." Additionally, Dewey's consist (the train cars he's pulling) is made up of outdated policies, including a caboose labeled with "Jim Crow."

I find the use of a streamliner rather ironic because at the time this film was made, many streamlined locomotives were being un-streamlined so the extra metal could be used for the war effort. It's a bit of an odd choice from that angle, but it's clear that the imagery of streamliners and what they represented in the minds of the public was still going strong.

Also worth noting: yes, FDR won the November 1944 election and began a fourth term in office. He died only a few months later, in April 1945, and was succeeded by his Vice President, Truman, who finished his term and then, as mentioned above, beat Dewey again in an upset to win a full term in 1948.

(Truman gleefully holding up the incorrect Chicago Tribune at St. Louis Union Station, 1948)

So that's that, I suppose! You can watch the film here, as it's in the public domain:

(If you enjoy my historical writing, consider donating to my Ko-Fi so I can keep AGI running as smoothly as the 20th Century Limited! Thanks for reading!)

[ladylucck]

ny with the national guard in the nyc subway. dc passing a bill prohibiting gathering in groups and facial covering. the only bipartisan issue the house has been able to agree on is sanctioning the ban of a social app young people use to stay connected and informed. rewriting history books. refusing to acknowledge global events. and anytime something actually needs to be done about abortion rights, gun control, education, inflation, anything at all that's actually important to the safety and wellness of the american public. it's crickets. they're not even pretending to care anymore. it's all just censorship and streamlining.

[darsynia]

Trust Fall | Ch 17a

ARC image by Eury Escodero | screencap from 'neverfeltbetter' wordpress

Story Masterlist | Previous Chapter | Next Chapter

Summary: Tony/OC, ‘terrorists made us fall in love;’ IM1 timeline. In this chapter, Tony does some thinking about how he used to treat Pepper as his PA, and Natasha and Emory talk shop.

Length: 3,443

Taglist: @starryeyes2000 @raith-way @arrthurpendragon @themaradaniels @starksbf @chickensarentcheap @tiny-anne

Excerpt:

Pepper Potts had shown up for her job interview in an inexpensive pantsuit that barely fit her, but her makeup had been immaculate, and she was (still is, really) one of the most beautiful non-models he’d ever met. Tony has never told her that he still doesn’t know which part was the tipping point, her looks or her qualifications, but he’s never regretted hiring her. In retrospect, he’s enjoyed watching her expand her wardrobe almost as much as her horizons, over the years.

That thought just reminds him of the image search he’d done of Emory, how she’d always been near Rory, supportive and functionally invisible. Pepper has been that for him for ten years. Has he hurt her in similar ways? He watches her facial expressions alter from concern to gratitude, then tighten into nervousness as if a switch has been thrown. 

“Mr. Stark, I’ve forgotten myself lately, I should apologize. I spent a lot of time with Mr. Hogan during your absence, and he refers to you by your first name--” she stops herself and stands there rigidly, waiting.

She’s shut down into business mode. He won’t have it.

“Apology not accepted,” Tony says, lifting his chin and regarding her sternly. “Tony is my name, and you’ve more than earned the right. Use it, don’t use it, I trust your judgment. I always have.”

Pepper looks at him, her ‘Stark Industries’ demeanor still active but her mouth hanging slightly open. She shuts it and raises her eyebrows. “That was almost nice, Mr. Stark. You must be under-caffeinated. I’ll be back.”

Chapter Seventeen: AU

Tony settles in at his desk, delegating the acquisition of materials and the overview of wire design for Mark II to his AI. That leaves him to solve the problem of stable flight and power conservation himself, but that’s the kind of challenge he’s always relished.

He spends a couple hours altering the design of SI’s Jericho repulsors to mount onto armored boots. As the design takes shape, though, it’s easy to picture the kinds of things that Obie might want to do with it. Tony grabs a flash drive from a drawer and plugs it in, meaning to swap his work over and purge it from the hard drive-- and that’s when he sees that his workspaces are all connected to his home computer. He’d been gone so long he completely forgot about that protocol, implemented after Stane had snooped into Tony’s files and found something he’d been tinkering with but hadn’t wanted to implement. One of those projects ended up becoming the Jericho missile, ironically enough. Remote access with nothing stored at SI was the compromise.

Remote access.

The armored suit he envisions is sleek, streamlined-- and impossible to get into and out of by himself. There are… sacrifices to his dignity he’d be prepared to make for the journey from Malibu to D.C. to see-- and reassure --Emory, but it’s more than three hours one way. Ideally, there’d be a middle ground option, like the flash drive.

Then, Tony remembers that there is.

The house he grew up in.

“JARVIS?” Tony leans back in his chair. “How quickly can we get the Stark Mansion habitable?” For the past five or so years, he’s stayed at hotels in NYC instead. Womanizing in one’s father’s footsteps is a little too on the nose. He briefly considers buying something just outside of D.C. as a fuck you to SHIELD and their list of expectations, but Tony doesn’t want them to retaliate against Emory. Besides, his mansion should be free of agency influence, and he can’t be sure of that in a rental near Washington.

“There are service companies that can be hired to prepare a dormant residence for occupation. Shall I employ one, sir?”

“Set it up,” Tony says, pleased. For the past few nights, Tony’s had trouble excising the images in his head of a particularly incisive, tech-savvy scientist crouched over hurriedly fastening the suit. Replacing Yinsen with a robotic apparatus is too painful to imagine right now. That would require acknowledging his absence from the world, and Tony’s not ready. There’s no sense in designing a robot to get him into and out of the suit without knowing the shape of the place he’d be building it into, and now he can put that off for a while yet.

He roughly shoves back from the desk and starts to get up. A sharp pain arcs through his toe and across his foot, forcing him to sit back down, hard. “What--”

Tony picks up his foot and finds that the sole of his shoe has actually detached halfway, hanging loose at the back. Suddenly the entire thing is too tight. He rips it off and removes the sock, finding the kind of angry, purplish bruising he would have expected to have noticed by now . He shakes his head.

“No way did I have this when I landed -?”

“You kicked your tool cabinet with a lot of force at the end of your call with Miss Autumn, Sir. It is now dented. The adrenaline may have obscured--”

“I get it,” Tony interrupts. He’d wanted to stop hating how it felt to hurt Emory on purpose. As he stares at his favorite pair of shoes in painful consternation, the door to his office opens. It’s Pepper Potts. 

“It’s barely six AM! Are you still on Afghanistan time?” she splutters, clearly concerned.

“We’re twelve hours off, and I hardly need beauty sleep. Wait, are you saying I-- never mind.” Frowning and definitely sleep deprived despite what he’s just said, Tony turns the chair and shoves his feet under the desk. His ruined shoe ends up dragged sideways, its wrecked sole opening wide for her to see.

“If that’s the shoe, what did you do to your foot?” Pepper gasps.

Tony swivels back around, lips twisting sideways as he shuffles his feet back into the light. “Might have broken a toe.”

“Did you fall? Did they miss a head injury?” Pepper eyes him up and down as if searching for other issues he’d kept from her. It’s the kind of presumptuous, caring action she almost never crosses the line for, and it has Tony reassessing how bad his foot looks. This moment feels like home, and fuck, he’d missed his people. Obviously, Pepper has missed him too-- she’s called him ‘Tony’ more in the past few days than in the past three years. That thought animates his impish grin.

“I’m fine. No one casts broken toes. Call in Frank and he’ll tape it up, stick on one of those fancy ice packs we designed for the troops, the ones that don’t burn you and actually stay put.”

“Tony, what--”

“I kicked something, okay? Take it up with the, the whatever. Thing I kicked,” he interrupts, waving his hand dismissively. It works; Pepper whips out her phone, giving him the stink eye as she presses two buttons. Seconds later, she’s speaking to Frank’s receptionist, meaning she’s got the doctor on speed dial, and that’s just insulting.

A quiet beep alerts him to a message JARVIS has wisely flashed onto his screen instead of speaking aloud. A company has been hired to get the mansion cleaned up after twenty-some years of sporadic habitation. In a few days, Stark Industries will send a skilled team out to shift his father’s equipment out of the way and fit out the lab space for him. Tony smiles and leans down to take his other shoe and sock off.

“All right. He’ll send someone within the hour.” She pins him with a look. “You need rest to heal, sir. I can’t even imagine what time you got up this morning.” Pepper looks unhappy, but softens her frustration with practiced deference. It reminds him of Emory, and that stings enough to make him want her out of there. “Promise me you’ll go home for lunch, at least?”

Tony’s off-balance, and his sloppy spin around the axis of normalcy makes him defensive. “Sure. Consider my injured arm twisted. You got something for me? I’m in the middle of designing something,” he says, turning back toward his computer.

“A new weapon? Something you used to escape?” she asks in a small voice. Pepper sounds confused, and who could blame her? Tony knows he’s hard to deal with at the best of times, and this is not that. There are countless design hours, maybe even weeks before he’ll be able to even visit Emory, much less rescue her. He’s new to this hero business, but it seems pretty clear that he could save his assistant right now by explaining himself.

...maybe building Mark II would be easier, in retrospect. He lobs a distraction grenade and hopes it hits.

“Pepper, I’m sorry I ruined your birthday.” 

Tony doesn’t use her first name at work. It’s one of the things she’d asked him to avoid when she’d started, and he’d understood immediately. He’d hired her all those years back because her resume was incredible, so much so that he’d accused her of faking it at the in-person interview. Pepper Potts had shown up in an inexpensive pantsuit that barely fit her, but her makeup had been immaculate, and she was (still is, really) one of the most beautiful non-models he’d ever met. Tony has never told her that he still doesn’t know which part was the tipping point, her looks or her qualifications, but he’s never regretted hiring her. In retrospect, he’s enjoyed watching her expand her wardrobe almost as much as her horizons, over the years.

That thought just reminds him of the image search he’d done of Emory, how she’d always been near Rory, supportive and functionally invisible. Pepper has been that for him for ten years. Has he hurt her in similar ways? He watches her facial expressions alter from concern to gratitude, then tighten into nervousness as if a switch has been thrown. 

“Mr. Stark, I’ve forgotten myself lately, I should apologize. I spent a lot of time with Mr. Hogan during your absence, and he refers to you by your first name--” she stops herself and stands there rigidly, waiting.

She’s shut down into business mode. He won’t have it.

“Apology not accepted,” Tony says, lifting his chin and regarding her sternly. “Tony is my name, and you’ve more than earned the right. Use it, don’t use it, I trust your judgment. I always have.”

Pepper looks at him, her ‘Stark Industries’ demeanor still active but her mouth hanging slightly open. She shuts it and raises her eyebrows. “That was almost nice, Mr. Stark. You must be under-caffeinated. I’ll be back.”

Tony supposes he deserves that. The message is loud if not entirely clear: not here, not now. To show her he understands, he turns back to his work but thrusts his hand out behind him, snapping his fingers.

“Folder?”

“Are you sure?”

He just waves his hand. Pepper slips it into his grasp, the steady but gentle sounds of her heels against the floor as she walks away hinting that she isn’t angry, at least. Tony waits for the door to close before he pulls his arm in and flicks it open.

It’s a file on Emory Autumn, generated at Stark Industries.

Tony can picture the secret smile on Ms. Potts’ face as she steps into the elevator. Pepper 1, Tony 0.

Natasha Romanoff drives like a maniac without shoes.

It isn’t that she’s unsafe-- she makes sure they’re both buckled. But D.C. streets have a different feel than LA ones, and something about this headlong rush is equal parts intimidating and impressive. At one point she slows to a crawl in the middle of the street. Emory looks over, confused, and Natasha nods toward a building ahead of them.

Suddenly, a bike flies out of a side door, skating across the sidewalk and down onto the road as if it has the right of way. Because they’ve slowed down already, the biker zooms across without issue, racing around a corner and out of sight.

“Courier agency. Crazy courier agency,” Natasha explains. “Haven’t needed to use it as a cover yet, but the whole city knows about those guys. They’ll come in handy someday.”

“I’m--” Emory’s throat closes up. She pushes ahead with what needs to be said anyway. “All of this is beyond me. If you need me to smooth over a hurt celebrity’s feelings, I’m your gal. Everything else…”

“I hear you,” Natasha says when she trails off. “According to the file, that’s exactly what they want you to be doing. My job will be to teach you how to stay alive afterwards. If something else grows from that, well.” Her brassy smile as she looks away from the road at Emory is not at all reassuring. The way that everyone at SHIELD dances around her powers while keeping her confined because of them is starting to drive her crazy.

No Shirt, No Shoes, No Service means that they go through a drive thru and sit in a run-down parking lot to talk while they eat. Natasha talks, Emory listens. Nothing about Emory’s abilities are mentioned, and Emory doesn’t volunteer anything. It feels a little bit like a game of chicken, but being Rory’s PA has taught her all about how to play those well. By the time they’re finished eating, Emory has a better idea of what’s expected of her in the short term (some physical training, some psychological training, a lot of policies and procedures training), and she’s gained a strong sense of respect for Natasha’s competence.

What’s baffling is how the SHIELD Emory has seen so far can possibly align with the one Natasha Romanoff seems to think she’s working for. Emboldened by a sliver of Tony’s audacious courage, Emory asks what Natasha thinks of SHIELD imprisoning a kidnapping victim without the means to contact friends, family, or former employer.

The agent’s response is to start up the car and head back toward SHIELD headquarters. The rest of the ride is silent, and Emory’s resentment rises with every tenth of a mile. Once back at the complex, Natasha parks and looks ahead for so many awkward seconds that Emory leans over to follow her gaze.

They’re parked in front of a placard that designates the spot for SHIELD parking only. Underneath the words are a sticker that warns that agency vehicles are surveillance monitored.

“I really am new at this,” Emory says sheepishly. She takes off the borrowed boots and offers them to Natasha, realizing belatedly that she should have done it earlier so the other woman didn’t have to drive barefoot. “Take these back, I’m sure you have a long day?” she offers.

“I’ll spend some of it raising hell about isolating you. You’re not a spy, you’re not quite an agent, but you shouldn’t be a prisoner.” Natasha takes the boots and puts them on, waving off the socks Emory offers. 

“I’m not ready to be any of the above! I look like a child in a trenchcoat, I’d make a terrible fake nurse, and… I mean…” Emory shakes her head, gesturing at Natasha Romanoff’s everything. “I don’t even belong in the building,” she mutters.

“A hawk-eyed assassin’s arrow can strike with precision, but his training can be nullified with an unpredictable wind. A spider’s size doesn’t diminish her sting, but she can be blown off course.” Natasha pushes the door open, turning her body away but tipping her head towards Emory to make eye contact for the first time since they parked. “Don’t underestimate what you can do.”

Natasha delivers the words in a tone so matter-of-fact that Emory almost feels chastised rather than encouraged. She sits in the car, shaken, until she realizes that the agent isn’t waiting for her. Scrambling out of the car, she sock power walks across the warm asphalt to catch up.

“How can you say that if I don’t even know what I can do?” she asks, still behind by a few paces. Natasha stops right where the parking lot meets the sidewalk, so Emory does too. The sun-warmed material heats up her feet like an impromptu ‘hot seat’ as they look at each other in the parking lot.

“Did you use your powers to help you and Stark escape the terrorists?” Natasha finally asks.

Emory refuses to adjust her stance, even if her burning feet are begging her to. “Yes.”

“Are you willing to use them to help us prevent anyone else from being blackmailed with that serum?” Natasha asks, the sharp tone at odds with her ‘two office girls at the water cooler’ body language.

“Excuse me,” a middle aged man in a suit says as he sidles past them onto the sidewalk.

“Of course,” Natasha says coyly, a full ten seconds later. The man’s gait hitches, and he clears his throat. Emory can’t help staring at her smug expression, and after another ten seconds, Natasha jerks her head back toward the man as he disappears into the Triskelion’s entrance. “Look at it this way: maybe someone decides to investigate our outing, sees him walk past us on the security footage.”

Emory gives up trying to seem tough and lifts one foot and then the other to ease the relentless sear of the blacktop’s heat transfer. As a result, Natasha steps up onto the sidewalk, moving close to the grass strip that leads toward the building, a small smile haunting her face. Emory gratefully follows, wondering what exactly the agent learned by her capitulation.

“If they ask that man what kind of shoes we had on,” Natasha continues, “There’s a high chance he’ll say black boots for both of us, even under oath. People see what they expect to see.”

“Doesn’t that only last as long as it takes for my proverbial arrow to miss?” Emory asks, enjoying the soothing cold floor of the atrium as they walk inside.

“That’s what the training is for. So you learn how to miss.”

Either something about being inside SHIELD headquarters makes Natasha Romanoff more confident, or her increased gait is another subtle test. Emory’s really close to mentally nicknaming her ‘Yinsen’ for the agent’s ability to make her feel similarly off-balance.

“Don’t you mean how not to miss?” she asks, jogging a bit to close the gap between them.

“Oh, that works itself out.” Natasha hits the elevator button and the doors immediately open. She settles herself against the back corner of the car in a casual position that looks like a photoshoot. “You’re a phone number memorizer, aren’t you?”

“Yes. The phone they put in my room doesn’t call out, though. I already tried,” Emory admits. She doesn’t add how lonely it had made her feel to realize she doesn’t even know how to contact Tony, and avoids eye contact in the resulting silence, until they reach the correct floor.

“Dialing 9 before calling out isn’t hardcoded. That’s your trivia for today,” Natasha says briskly as they walk out. After unlocking Emory’s door, Natasha steps inside and scans the room with a professionalism that has Emory once again wallowing in inadequacy. “New laptop, new phone, new chair, and they brought up your suitcase, good. I’ll write down what you’ll need for training, hold off on getting adventurous until I get you a schedule?”

“I can handle that. It was my job to be the wet blanket, after all.”

“So you’re saying you kept Stark alive, rather than the other way around?” 

Emory walks in, facing away from Natasha long enough to allow a rueful smile whose evidence leaks into her tone despite her best efforts. “No way. The man is a force of nature.”

“So are you, from what I’ve seen. Just need some control. It’ll be easier to teach that to you than to him.” Before Emory can really take in the full meaning of those words, Natasha leans against the doorframe, crossing her arms with an odd kind of satisfaction. “He’s connected to your power generation, isn’t he? Can I be the one to tell Fury?”

“Is this spy blackmail? Make it fun or I’ll sic the director on you? I’d be impressed if I weren’t so intimidated,” Emory tells her. She feels bad when Natasha straightens back up, her face tightening back into that of a SHIELD agent. “Oops. I didn’t mean to reactivate you, ‘Agent Romanoff,’” Emory says, backing into the room while doing the air quotes.

Natasha’s response to that is playful irritation, rather than formality. “That’s Stark talking.”

The implications of that sweeps through Emory like a tiny burst of joy. “The scare quotes were all me, but yeah, I guess you can. Tony’s--” she gasps, realizing the perfect way to put it, given the music Tony would riff to himself when deep in thought. “He’s my current. My AC/DC. The truth is, since the kidnapping I barely know myself compared to who I was before. I don’t want to let you down, but--”

“Okay, that first part is disgusting, I’m out of here,” Natasha interrupts with a teasing frown, reaching for the doorknob. She pauses and makes eye contact, her expression hardening for a frightening three seconds before her features shift back into the recognizable. “I might be Agent Romanoff here, but in the field, I’m called Black Widow. You don’t have to be all things at all times, Ms. Autumn, no matter what Hawkeye will tell you.”

The door clicks shut before Emory can ask who Hawkeye is, but it has to be Barton. It seems like maybe Agent Romanoff brought him up specifically because she wants Emory to think about how to support an archer and a close-combat fighter during their mission, if things go wrong.

Since there’s not much else to do besides go through the suitcase that represents a part of herself she doesn’t want to deal with right now, Emory grabs her notebook and starts jotting down ideas.

Next chapter: Tony gets Pepper's help to remove his old ARC, and Emory learns she can uproot trees with her MIND.

[guerrerense]

DL 190 - ALCO PA-1 at Kansas City, KS por Zach Pumphery Por Flickr: On its way to new owner Genesee Valley Transportation Company is the famous ALCO PA-1 restored by preservationist Doyle McCormack over the past 2 decades in Portland, Oregon. The locomotive began moving east in late April from the PNW on BNSF Railway, arriving at Kansas City early this morning on BNSF Train H PASKCK9 25A, appropriately behind a warbonnet painted Dash-9. In this view, the locomotive is at the "Tall Tower" at BNSF Argentine Yard. The unit is on home rails at this former Santa Fe facility. This engine was built for the Atchison, Topeka & Santa Fe Railway by the American Locomotive Company in 12-1948 as ATSF 62-L, builder number 76541 wearing the famous red and silver Warbonnet paint scheme leading famous trains such as the "El Capitan" between Chicago and California. On 4-5-67, the Santa Fe retired the unit and sold it to Morrison–Knudsen in Boise, ID. 4 Ex-ATSF units including this one were rebuilt by MK with the "PA-4" classification, for the Delaware and Hudson on 8-11-75, with this one becoming D&H 18. Under D&H ownership, they were used by Amtrak for the "Adirondack", and later by the Massachusetts Bay Transit Authority hauling commuter trains around Boston. The last PA's to operate in the United States, they were sold in 1978 to the NdeM, where this one ran as DH-18 until 1981. All 4 of those PA's remain, 2 at the National Museum of Mexican Railways, and 2 in the US. In 2000, McCormack of American Freedom Train and SP 4449 fame worked with the Smithsonian Institution to bring two of these engines back to the United States. What was left of the 16 and 18 came home on flat cars to Oregon. Doyle bought a set of trucks in Canada to replace the ones that were missing when it arrived from Mexico, and the hulk of a BC Rail M420B for its 251 prime mover, electrical cabinet, and traction motors. 16 later wound up at the Museum of the American Railroad in Texas where it is steadily being restored to its Santa Fe appearance. McCormack's father worked for the NYC&STL, better known as the Nickel Plate Road, and his first cab ride when he was 12 was aboard the real NKP 190. Doyle later worked for the N&W in Ohio and an operator, eventually becoming a fireman before moving to the Pacific Northwest in the 1970's. He hired out on the SP, worked freight an passenger service for Amtrak, and has retired from the UP, all the while being heavily involved with the 4449 organization. When he restored the PA it was only natural for him to restore it to an NKP appearance, which took the better part of 2 decades to complete. The engine traveled to Spencer, NC in 2014 for the "Streamliners at Spencer" event featuring a plethora of locomotives from that era. Now in his 80's, it was announced in March 2023 that he had sold the engine to GVT after years of talks. The engine will be put into excursion service by GVT and will pull excursions in Northeastern Pennsylvanian, including former D&H track the engine ran in revenue service. Assigned "DL 190" for movement to GVT's Delaware-Lackawanna Railroad in Pennsylvania, it retains its Nickel Plate Road paint scheme. The real 190 was built in March 1948 and carried builder number 75457. For what was regarded as one of the most beautiful locomotive designs ever built, not many of these were preserved, and half of those units suffered what had been a grim fate for decades. It's nice to have a few left to enjoy. Locomotive: DL 190 5-3-23 Kansas City, KS