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Eustace Tilley

Eustace Tilley is a caricature that appeared on the cover of the first issue of The New Yorker in 1925 and has appeared on the cover in various forms of every anniversary issue of the magazine except 2017. He was not initially named, but acquired the name from Corey Ford in subsequent issues as part of a fictional magazine history backstory included to fill the early issues of the magazine. The original cover, showing Tilley examining a butterfly through his monocle, was drawn by Rea Irvin, but a younger and more modern-looking version of him as drawn by Johan Bull in subsequent months appeared throughout the magazine in its early years. This later version was given the name Tilley and subsequently the original cover was also declared to be Tilley. Because of the cover's prominence, almost all of the references to Tilley in the press discuss the Irvin version.

Irvin drew three versions of the masthead artwork that featured Tilley in 1925 and 1926. Irvin's third version from 1926 was not updated or revamped until the May 22, 2017, issue with artwork by Christoph Niemann. In 2023, Niemann drew a robot named Till-E for the magazine.

Until 1994, the original cover artwork was reproduced for the annual anniversary edition, but, since then, there has been significant variation in how his character has been embodied. He has become the mascot of the magazine and is described as a dandy. There have been two years without any anniversary issue and in other years when the anniversary celebration/remembrance has broken from previously-established tradition it has resulted in stories in publications such as The Washington Post and The New York Times. Since 2008, artists have competed in an annual Eustace Tilley contest with prizes that include the potential to have their artistic interpretation submissions chosen for the anniversary cover. All contest submissions are derived from Irvin's version.

Origin
Tilley was born out of necessity when the coverless first edition of The New Yorker was set to print. After editor-in-chief and founder Harold Ross was unsatisfied by the array of artist submissions under the theme of "a curtain going up on Manhattan", Ross turned to art editor Rea Irvin with the directive to produce a cover that "would make the subscribers feel that we've been in business for years and know our way around". Irvin was The New Yorker first employee and its de facto art editor. He drew the magazine's first cover of the character, modelling him on a caricature of Alfred d'Orsay in the December 1834 edition of Fraser's Magazine. This caricature can be found under the subject "costume" in the 11th edition of the Encyclopædia Britannica published in 1910 ("Costume", Encyclopædia Britannica, eleventh edition, vol. 7 (New York: Encyclopædia Britannica Co., 1910), 244, fig. 47.). Irvin, who had four months earlier drawn a magazine cover of a well-clad gentleman, added features to the 19th-century stylistic source image: a monocle to represent erudite intellect as well as a butterfly for "whimsey".

Since advertisers were not filling the pages of the unfamiliar magazine at first, it commissioned Corey Ford to fill the pages with a series of humor pieces that "pretended to provide an inside look at the making of the magazine" with illustrations of the mascot, in which he was dubbed with the name Eustace Tilley. His appearances in the series is likened thematically to Where's Wally?/Where's Waldo? Tilley was presented as the hero of Ford's series which was titled "The Making of a Magazine". He was introduced inside front cover of the August 8, 1925, issue with a more youthful appearance than that of the original cover art subject. Ford combined the last name of a somewhat humorous aunt of his with the name Eustace due to euphony. His top hat was of a newer style, without the curved brim. He wore a morning coat and striped formal trousers. The series ran for 21 chapters of pseudo-intellectual parody and first presented Tilley in close-up in Chapter XVII. The range of activities and duties held by Tilley within the magazine in the decades after "The Making of a Magazine" gave a reputation as a man of action on top of his erudite man of taste presentation. For "The Making of a Magazine" chapters, Tilley was drawn with modern attire of the day by Johan Bull (whose tenure with the magazine seems to have ended in 1927), although each feature's layout was ornamented with Irvin's 19th-century-cladded version at the top. At some point well after Tilley was named on the inside we are told that he is the same named person in the original cover art that would be reused annually. In Chapter XX, we are told that Eustace was born to Mrs. Terwilliger Tilley on January 1, 1876.

Ross believed Tilley was the highlight of the inaugural issue and each year that the magazine managed to survive, he acknowledged this by putting him on the cover again. By appearing on the cover exactly as originally drawn every year for decades on the issue closest to the anniversary date of February 21, Tilley has become a kind of mascot for The New Yorker. He has frequently made appearance within the magazine and on promotional materials, with occasional artistic license used to provide variation on his appearance. More recent anniversary editions have "parodied, subverted or deconstructed" the original artwork.

Persona
The New York Times described him as follows: "The enduring symbol of The New Yorker magazine — the aristocratic, top-hatted Regency dandy, Eustace Tilley, studying a fluttering pale pink butterfly through a monocle". The Comics Journal says his depiction is incongruous: "a seeming sophisticated man-about-town who is so vapidly empty-headed as to find a fluttering insect an object worthy of minute inspection." Crosstown rival magazine New York describes him as a dandy who has always been somewhat condescending. ABC News describes him as "foppish". The Nieman Foundation for Journalism at Harvard University in their Nieman Reports stated that Tilley portrays the "essence" of the magazine—"a slightly condescending but consummately tasteful arbiter of the larger world" despite the fact that he was derived from a less than smart and jazzy source.

Rebirth
The 1994 version broke with tradition by substituting for the dandy a drawing by R. Crumb of a contemporary city youth wearing a logo t-shirt and a backwards baseball cap and looking at – instead of a butterfly – a flyer for a pornography theater. The New York Times described this version as bearing mere resemblance to the original staid and wing-collared Tilley, rather than being a copy, but with similarities that included the "long neck, the pointy nose, the all-but-concealed eye, even the penciled arch of eyebrow". Twice in the late 1990s there was no anniversary edition.

January 7, 2013, was the deadline for the sixth annual Eustace Tilley contest in which readers submit their own interpretations of the magazine's mascot. This suggests the original annual contest was for the 2008 issue. User submissions for the original contest can be found online at Flickr. Nine winning entries from nearly three hundred entries were announced in a published release dated February 4, 2008. The original contest earned coverage by outlets such as Gothamist. The 2008 cover was produced in homage to the ongoing 2008 Democratic Party presidential primaries as a two-headed face card dubbed Eustace Tillarobama, with depictions of Barack Obama and Hillary Clinton. By the time of the sixth annual edition, editors selected 12 winners and readers subsequently voted to determine 5 readers' choice winners. When interviewed by New York, 2013 contest winner Simon Greiner described his hipster work on updating of Tilley's physical cues based on the original as follows: "the sideburns into the beard, the monocle into the eyeglasses, the coat, and the hat".

In protest of Executive Order 13769 by Donald Trump, the newly seated President of the United States, Tilley was not depicted on the 2017 anniversary issue, instead appearing two issues later. That year's anniversary cover was art from John W. Tomac that was based on the hand and torch of the Statue of Liberty in an effort to stand behind American values that welcomed immigrants in contrast to the values Trump expressed via executive order. The March 7, 2017, cover featured a human observer resembling Vladimir Putin and the usual lepidopteran subject of observation with a Trump–based head to highlight the New Cold War. The work by artist Barry Blitt is titled "Eustace Vladimirovich Tilley".

By the time of the 2021 edition of the Eustace Tilley contest, there had been years in which none of the winners actually appeared on the cover and other years in which multiple covers with depictions of the character by multiple artists were published. The range of variations have been significant. The mascot had twice been manifested by contest winners as a female Eustacia (once on an anniversary edition cover and once in the summer). Tilley has also been depicted by contest winners as a youthful punk and a youthful hipster as well as a wide variety of character contexts. The 2023 winner and anniversary cover veteran, Tomac, presented Eustace in canine form.

Christoph Niemann era
In 2015, The New Yorker published nine different covers for its 90th anniversary edition, and a digital art version by Christoph Niemann was one of the female versions among the selectees. Starting with the May 22, 2017, issue, Tilley was redrawn for the masthead by Niemann. The new depiction included the elimination of Tilley's character lines in his hair, face, and jacket; elimination of dots in his jacket; narrowing of his body; and smoothing of his face. In addition, the owl has been slimmed, and had some lines eliminated. The skyline of buildings was also revamped to include the new World Trade Center and an erect building that resembles the Leaning Tower of Pisa; eliminate spacing between buildings; replace other unique buildings with generic ones.

Many other elements of the masthead have been smoothed out or slimmed to eliminate the human touch or give different effects. Niemann drew the November 20, 2023-dated issue cover of a robot as a representation of an artificial intelligence helper and named the robot Till-E as part of an AI-themed cover story published November 13.

title: Eustace Tilley


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Thomas Mooney (disambiguation)

Thomas Mooney (1882–1942) was an American labor leader in San Francisco.

Thomas, Tom or Tommy Mooney may also refer to:

 * Tom Mooney (baseball) (fl. 1908–1909), American baseball player
 * Thomas Mooney (chaplain) (1906–1944), Canadian Catholic chaplain
 * Tom Mooney (footballer) (1910–1981), Scottish footballer (Airdrie, Newcastle, Morton)
 * Thomas J. Mooney (Maryland politician), American politician who ran against William Donald Schaefer for Governor of Maryland, 1986
 * Tom Mooney (rugby league) (born 1952), Australian rugby league footballer
 * Tom Mooney (educator) (1954–2006), American labor leader and teacher from Ohio
 * Thomas K. Mooney (1962–2007), American diplomat and Army officer
 * Tommy Mooney (born 1971), English football player
 * Thomas Mooney (footballer) (born 1973), Northern Irish footballer

Other uses

 * California Labor School (formerly known as Tom Mooney Labor School), American educational organization

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Thomas Mooney (disambiguation)


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Apolo, La Paz

Apolo is a location in the Franz Tamayo Province in the La Paz Department, Bolivia, South America, with a population of 2,123 in the year 2001. It is the seat of the Apolo Municipality.

The main plaza is dominated by a large Roman Catholic Chapel. There are three schools with most children attending in the morning.

It is approximately fourteen hours away from the La Paz capital. On the way to Apolo the road is accompanied by numerous waterfalls and changing landscapes.

The village is served by Apolo Airport.

title: Apolo, La Paz


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Vanya on 42nd Street

Vanya on 42nd Street is a 1994 American comedy-drama film directed by Louis Malle, written by Andre Gregory, and starring Wallace Shawn and Julianne Moore. The film is an intimate, interpretive performance of the 1899 play Uncle Vanya by Anton Chekhov as adapted by David Mamet.

Premise
Actors in New York City rehearse Uncle Vanya in a dilapidated theatre.

Cast
The film also features Madhur Jaffrey and Andre Gregory as himself. Shawn, Gregory, and Malle had previously collaborated on the 1981 film My Dinner with Andre. Several actors known to the New York stage are featured, including George Gaynes, Larry Pine, Phoebe Brand, Brooke Smith, and Lynn Cohen.

Moore, whose film career was gaining critical attention because of her performance in Short Cuts, was prominently featured in the advertising campaign for the film.

The soundtrack features music by the Joshua Redman Quartet, with Redman on tenor saxophone, Brad Mehldau on piano, Christian McBride on bass, and Brian Blade on drums.

Production
Over the course of three years, director Andre Gregory and a group of actors came together on a voluntary basis in order to better understand Chekhov's work through performance workshops. Staged entirely within the vacant shell of the then-abandoned New Amsterdam Theater on 42nd Street in New York City, they enacted the play rehearsal-style on a bare stage with the actors in street clothes. Free from any commercial demands, their performances were for an invited audience only. Gregory and director Louis Malle decided to document the play as they had developed it. The film was the result of the collaborative process. It was the last film of Malle's career.

Filming
Workshop rehearsals with Gregory and the cast originally took place at the abandoned Victory Theater on 42nd Street in New York City. The filmed version was shot entirely within the New Amsterdam Theatre, also on 42nd Street. Built in 1903, the theatre was the original home of the Ziegfeld Follies, a historical tidbit mentioned in the film during some pre-show banter. In the late 1930s, the New Amsterdam Theatre was transformed into a movie palace. The theatre remained a movie palace until it "temporarily" closed in 1982.

At the time Vanya on 42nd Street was filmed, the theatre had been abandoned for over ten years and was in a state of severe disrepair. Rats had chewed through much of the stage rigging, and flooding and mice made the stage unusable, so that they were restricted to a section of what had been the orchestra.

For the film production, some rows of seats were removed and a small platform was built for the cast and film crew. Shortly after the production of Vanya, the New Amsterdam was leased to The Walt Disney Company. Disney restored the theatre to its grand original design and reopened it in 1997.

Critical response
Vanya on 42nd Street received mostly positive reviews from critics. On the review aggregator website Rotten Tomatoes, the film has an 89% approval rating, based on 37 reviews. The website's consensus reads, "Beautiful performances and the subtle hand of master Louis Malle make this adaptation of Chekov's Uncle Vanya an eccentric presentation of an enduring classic." Roger Ebert gave the film three-and-a-half out of four stars in his review for the Chicago Sun-Times. "As he did with My Dinner with Andre", Ebert wrote, "[Malle shows] he is the master of a visual style suited to tightly-encompassed material. There is not a shot that calls attention to itself, and yet not a shot that is without thought."

Year-end lists

 * 1st – Peter Rainer, Los Angeles Times
 * 2nd – Stephen Hunter, The Baltimore Sun
 * 2nd – Michael Mills, The Palm Beach Post
 * 3rd – Bob Strauss, Los Angeles Daily News
 * 5th – Kevin Thomas, Los Angeles Times
 * 5th – David Elliott, The San Diego Union-Tribune
 * 7th – Gene Siskel, The Chicago Tribune
 * 9th – Kenneth Turan, Los Angeles Times
 * 9th – Robert Denerstein, Rocky Mountain News
 * Top 10 (listed alphabetically, not ranked) – Mike Clark, USA Today
 * Top 10 (not ranked) – Betsy Pickle, Knoxville News-Sentinel
 * Top 10 runner-ups (not ranked) – Janet Maslin, The New York Times
 * Honorable mention – Glenn Lovell, San Jose Mercury News
 * Honorable mention – William Arnold, Seattle Post-Intelligencer

title: Vanya on 42nd Street


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Johnny Thomson

John Ashley Thomson (April 9, 1922 – September 24, 1960) was an American racecar driver. Thomson was nicknamed "the Flying Scot." He won several championships in midgets and sprint cars before competing in Championship Car (now IndyCar) racing. He won the pole position for the 1959 Indianapolis 500.

Background
Thomson was born on April 9, 1922, to William and Marion Ross Thomson. He graduated from Lowell High School then the New England Aircraft School.

He served in the United States Air Force as a crew chief during World War II in Corsica and Italy between 1942 and 1945 on a B-25 bomber. Thomson was awarded five service stars and the Distinguished Air Force Medal.

Thomson met his future wife Evelyn Peterson in 1951. He moved from the Springfield, Massachusetts, area to a five-acre ranch that he built near Boyertown, Pennsylvania, in the mid 1950s.

Midget cars
Thomson began watching races at a track across the street from his home in 1937 and 1938 in Lowell. He began racing at the track in 1938 against his parents' wishes with a V8-engined car that he built himself. After returning from the war, he resumed racing midgets at the Bay State Racing Association. His first win happened at Seekonk Speedway in 1946 and he won seven times in 1947.

Thomson won the 1948 United Car Owners Association (UCOA) New England title after winning 32 midget events. He won his second UCOA title in 1949; he also race in some American Racing Drivers Club (ARDC) events. He switched to the ARDC in 1950 to finish fifth in points and took second in points in 1951.

He won the 1952 AAA Eastern division midget car championship after winning twice at Williams Grove Speedway.

Championship cars
He drove in the AAA and USAC Championship Car series, racing in the 1953-1960 seasons with 69 starts, including the Indianapolis 500 races in each season. He finished in the top ten 43 times, with 7 victories. His best Indy finish was third in 1959 after starting the race on the pole position. Roy Sherman, the first National Midget Champion, was his chief mechanic for several Indy 500s.

He won his first champ car race at the Milwaukee Mile in 1955. He ended up finishing third in season points after having to sit out the middle part of the season while healing from a end over end flip at the Langhorne Speedway circle. He clipped Jerry Hoyt's car while in the lead; he broke five ribs, bruised his vertebrae, broke his shoulder in eight places. In 1957, Thomson won at Langhorne; he also earned two pole positions. In October, he crashed at the California State Fairgrounds Race Track suffering internal injuries. In 1958, he finished third with wins at the Springfield Mile, DuQuoin State Fairgrounds, California Fairgrounds, and Syracuse Mile. He earned two pole positions in 13 starts. In 1959, he raced primarily in champ cars and finished third in national points after a win at Milwaukee plus three fast times. He had a wreck in a sprint car race at Williams Grove in September and missed the rest of the season.

He was the first driver to win a 100 mi dirt track race in less than an hour at Langhorne Speedway. His champ car's average speed was 100.174 miles per hour.

Sprint cars
Thomson made his first "Big Car" (now sprint car) start in September 1952 at the Vermont State Fairgrounds. He primarily raced on the AAA Eastern circuit in 1953; he finished ninth after winning at Altamont, New York. Thomson won the Eastern AAA Big Car championship in 1954 after winning eight events. AAA ended sanctioning after the 1955 season and it was replaced by the United States Automobile Club (USAC) in 1956. He continued in the Eastern Division in 1956 and had wins at Williams Grove, Trenton Speedway, and Reading Fairgrounds Speedway; he finished second in points behind Tommy Hinnershitz. Thomson's sprint car races in 1957 were primarily in the USAC Eastern division; he won twice at Reading and once at the Allentown fairgrounds to finish third in points. Thomas returned from injury to win the first 1958 USAC Sprint Car Series Eastern race at Williams Grove; he followed up with two wins at Reading and one at Allentown to win the Eastern championship.

Death
On September 24, 2960, Thomson was racing in a USAC Sprint Car at the Great Allentown Fair at the Allentown Fairgrounds. On a rutty and dry track, his car flipped and crashed through the backstretch fence and flipped into the infield. He was thrown out of the car and was pinned underneath the car after it stopped rolling. His leg was broken, and he died several hours later at Allentown General Hospital in Allentown, Pennsylvania, at age 38. His friend Tommy Hinnershitz announced his retirement from racing shortly after Thomson's death.

Thomson was survived by his wife and four sons (Dale, Dana, David and Darryl).

Career awards
Thomson was inducted in the National Sprint Car Hall of Fame in 1996 and the National Midget Auto Racing Hall of Fame in 1997.

Television Appearance
Thomson was a contestant on Bud Collyer's "Beat The Clock".

Complete AAA/USAC Championship Car results
Reference:

World Championship career summary
The Indianapolis 500 was part of the FIA World Championship from 1950 through 1960. Drivers competing at Indy during those years were credited with World Championship points and participation. Johnny Thomson participated in 8 World Championship races. He started on the pole once, set 1 fastest lead lap, and finished on the podium once, accumulating a total of 10 World Championship points.

title: Johnny Thomson