document_title: Gateway Arch

question_text: what does the gateway arch in st louis represent

question_tokens: what does the gateway arch in st louis represent

root

text: Gateway Arch

text: Background[edit]

text: Inception and early funding (1933–1935)[edit]

text: Around late 1933, civic leader Luther Ely Smith, returning to St. Louis from the George Rogers Clark National Historical Park in Vincennes, Indiana, saw the St. Louis riverfront area and envisioned that building a memorial there would both revive the riverfront and stimulate the economy.[14][15] He communicated his idea to mayor Bernard Dickmann, who on December 15, 1933, raised it in a meeting with city leaders. They sanctioned the proposal, and the nonprofit Jefferson National Expansion Memorial Association (JNEMA—pronounced "Jenny May")[16] was formed. Smith was appointed chairman and Dickmann vice chairman. The association's goal was to create:[14]

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text: A suitable and permanent public memorial to the men who made possible the western territorial expansion of the United States, particularly President Jefferson, his aides Livingston and Monroe, the great explorers, Lewis and Clark, and the hardy hunters, trappers, frontiersmen and pioneers who contributed to the territorial expansion and development of these United States, and thereby to bring before the public of this and future generations the history of our development and induce familiarity with the patriotic accomplishments of these great builders of our country.

text: Many locals did not approve of depleting public funds for the cause. Smith's daughter SaLees related that when "people would tell him we needed more practical things", he would respond that "spiritual things" were equally important.[16]

text: The association expected that $30 million would be needed to undertake the construction of such a monument. It called upon the federal government to foot three-quarters of the bill ($22.5 million).[16]

text: The suggestion to renew the riverfront was not original, as previous projects were attempted but lacked popularity. The Jefferson memorial idea emerged amid the economic disarray of the Great Depression and promised new jobs.[14] The project was expected to create 5,000 jobs for three to four years.[17] Committee members began to raise public awareness by organizing fundraisers and writing pamphlets. They also engaged Congress by planning budgets and preparing bills, in addition to researching ownership of the land they had chosen, "approximately one-half mile in length ... from Third Street east to the present elevated railroad." In January 1934, Senator Bennett Champ Clark and Representative John Cochran introduced to Congress an appropriation bill seeking $30 million for the memorial, but the bill failed to garner support due to the large amount of money solicited. In March of the same year, joint resolutions proposed the establishment of a federal commission to develop the memorial. Although the proposal aimed for only authorization, the bill incurred opposition because people suspected that JNEMA would later seek appropriation. On March 28 the Senate bill was reported out, and on April 5 it was turned over to the House Library Committee, which later reported favorably on the bills. On June 8, both the Senate and House bills were passed. On June 15, then President Franklin D. Roosevelt signed the bill into law, instituting the United States Territorial Expansion Memorial Commission. The commission comprised 15 members, chosen by Roosevelt, the House, the Senate, and JNEMA. It first convened on December 19 in St. Louis, where members examined the project and its planned location.[14]

text: Meanwhile, in December, the JNEMA discussed organizing an architectural competition to determine the design of the monument. Local architect Louis LeBeaume had drawn up competition guidelines by January 1935.[14] On April 13, 1935, the commission certified JNEMA's project proposals, including memorial perimeters, the "historical significance" of the memorial, the competition, and the $30 million budget.[14] Between February and April, the Missouri State Legislature passed an act allowing the use of bonds to facilitate the project. On April 15, then Governor Guy B. Park signed it into law. Dickmann and Smith applied for funding from two New Deal agencies—the Public Works Administration (headed by Harold Ickes) and the Works Progress Administration (headed by Harry Hopkins). On August 7, both Ickes and Hopkins assented to the funding requests, each promising $10,000,000, and said that the National Park Service (NPS) would manage the memorial.[18] A local bond issue election granting $7.5 million for the memorial's development was held on September 10 and passed.[14][17]

text: On December 21, Franklin D. Roosevelt signed Executive Order 7253[15] to approve the memorial,[19] allocating the 82-acre area as the first National Historic Site.[15][16][18] The order also appropriated $3.3 million through the WPA and $3.45 million through the PWA[20] ($6,750,000 in total).[17] The motivation of the project was twofold—commemorating westward expansion and creating jobs.[14] Some taxpayers began to file suits to impede the monument, which they called a "boondoggle".[16]

text: Land acquisition, opposition, demolition, and early railroad negotiations (1936–1939)[edit]

text: Using the 1935 grant of $6.75 million and $2.25 million in city bonds,[17] the NPS acquired the buildings within the historic site—through condemnation rather than purchase—and demolished them. By September 1938, condemnation was complete. The condemnation was subject to many legal disputes which culminated on January 27, 1939, when the United States Circuit Court of Appeals ruled that condemnation was valid. A total of $6.2 million was distributed to land owners on June 14.[15] Demolition commenced on October 9, 1939, when Dickmann extracted three bricks from a vacant warehouse.[21]

text: Led by Paul Peters, adversaries of the memorial delivered to Congress a leaflet titled "Public Necessity or Just Plain Pork". The JNEMA's lawyer, Bon Geaslin, believed that the flyers did not taint the project, but motivated members of Congress to find out more about the same. Although Representative John Cochran wanted to ask Congress to approve more funds, Geaslin believed the association should "keep a low profile, maintaining its current position during this session of Congress". He advised the association to "get a good strong editorial in one of the papers to the effect that a small group of tenants ... is soliciting funds [to fight] the proposed improvement, and stating that these efforts do not represent the consensus of opinion in St. Louis ..., and pointing out that such obstructions should be condemned".[21]

text: Congress's reduction in spending made it impossible for the allocated funds to be obtained. NPS responded that the city would reduce its contribution if the federal government did. It also asserted that the funds were sanctioned by an executive order, but superintendent John Nagle pointed out that what "one Executive Order does, another can undo". In March 1936, Representative Cochran commented during a House meeting that he "would not vote for any measure providing for building the memorial or allotting funds to it". Geaslin found Cochran's statements to be a greater hindrance to the project than Paul Peters' opposition, for Congress might have Cochran's opinions as representative of public opinion.[21]

text: Peters and other opponents asked Roosevelt to rescind Executive Order 7253 and to redirect the money to the American Red Cross. Smith impugned their motives, accusing them of being "opposed to anything that is ever advanced in behalf of the city."[21] In February 1936, an editorial written by Paul W. Ward in The Nation denounced the project.[22] Smith was infuriated, fearing the impact of attacks from a prestigious magazine, and wanted "to jump on it strong with hammer and tongs". William Allen White, a renowned newspaper editor, advised Smith not to fret.[21]

text: Because the Mississippi River played an essential role in establishing St. Louis's identity as the gateway to the west, a memorial commemorating it should be near the river. Railroad tracks that had been constructed in the 1930s on the levee obstructed views of the riverfront from the memorial site.[15] When Ickes declared that the railway must be removed before he would allocate funds for the memorial,[21] President of the St. Louis Board of Public Service Baxter Brown suggested that "a new tunnel ... conceal the relocated tracks and re-grading of the site to elevate it over the tunnel. These modifications would eliminate the elevated and surface tracks and open up the views to the river."[15] Although rejected by NPS architect Charles Peterson, Brown's proposal formed the basis for the ultimate settlement.[21]

text: Design competition (1945–1948)[edit]

text:
... [T]he steel monument one sees today—carbon steel on the interior, stainless steel on the exterior, and concrete in-filling, with an equilateral-triangle-shaped section that tapers from 54 to 17 feet at the top, and the concept of a skin that is also structure—is in essence [Saarinen's] competition design.[23]

Eero Saarinen: Shaping the Future, 2006

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text: In November 1944, Smith discussed with Newton Drury, the National Park Service Director, the design of the memorial, asserting that the memorial should be "transcending in spiritual and aesthetic values," best represented by "one central feature: a single shaft, a building, an arch, or something else that would symbolize American culture and civilization."[24]

text: The idea of an architectural competition to determine the design of the memorial was favored at the JNEMA's inaugural meeting. They planned to award cash for the best design.[16] In January 1945, the JNEMA officially announced a two-stage design competition that would cost $225,000 to organize. Smith and the JNEMA struggled to raise the funds, garnering only a third of the required total by June 1945.[a] Then mayor Aloys Kaufmann feared that the lack of public support would lead officials to abandon hope in the project. The passage of a year brought little success, and Smith frantically underwrote the remaining $40,000 in May 1946. By June, Smith found others to assume portions of his underwriting, with $17,000 remaining under his sponsorship. In February 1947, the underwriters were compensated, and the fund stood over $231,199.[24]

text: Local architect Louis LaBeaume prepared a set of specifications for the design, and architect George Howe was chosen to coordinate the competition. On May 30, 1947, the contest officially opened. The seven-member jury that would judge the designs comprised Charles Nagel Jr., Richard Neutra, Roland Wank, William Wurster, LaBeaume, Fiske Kimball, and S. Herbert Hare.[26] The competition comprised two stages—the first to narrow down the designers to five and the second to single out one architect and his design.[24] The design intended to include:[27]

text: "(a) an architectural memorial or memorials to Jefferson; dealing (b) with preservation of the site of Old St. Louis—landscaping, provision of an open-air campfire theater, reerection or reproduction of a few typical old buildings, provision of a Museum interpreting the Westward movement; (c) a living memorial to Jefferson's 'vision of greater opportunities for men of all races and creeds;' (d) recreational facilities, both sides of the river; and (e) parking facilities, access, relocation of railroads, placement of an interstate highway."

text: Saarinen's team included himself as designer, J. Henderson Barr as associate designer, and Dan Kiley as landscape architect, as well as Lily Swann Saarinen as sculptor and Alexander Girard as painter. In the first stage of the competition, Carl Milles advised Saarinen to change the bases of each leg to triangles instead of squares. Saarinen said that he "worked at first with mathematical shapes, but finally adjusted it according to the eye." At submission, Saarinen's plans laid out the arch at 509 feet (155 m) tall and 592 feet (180 m) wide from center to center of the triangle bases.[23]

text: On September 1, 1947, submissions for the first stage were received by the jury. The submissions were labeled by numbers only, and the names of the designers were kept anonymous. Upon four days of deliberation, the jury narrowed down the 172 submissions, which included Saarinen's father Eliel,[25] to five finalists, and announced the corresponding numbers to the media on September 27. Saarinen's design (#144) was among the finalists, and comments written on it included "relevant, beautiful, perhaps inspired would be the right word" (Roland Wank) and "an abstract form peculiarly happy in its symbolism" (Charles Nagel). Hare questioned the feasibility of the design but appreciated the thoughtfulness behind it.[24] Local St. Louis architect Harris Armstrong was also one of the finalists.[28] The secretary who sent out the telegrams informing finalists of their advancement mistakenly sent one to Eliel rather than Eero. The family celebrated with champagne, and two hours later, a competition representative called to correct the mistake. Eliel "'broke out a second bottle of champagne' to toast his son."[25]

text: They proceeded to the second stage, and each was given a $10,000 prize. Saarinen changed the height of the arch from 580 feet to 630 feet (190 m)[b] and wrote that the arch symbolized "the gateway to the West, the national expansion, and whatnot."[23] He wanted the landscape surrounding the arch to "be so densely covered with trees that it will be a forest-like park, a green retreat from the tension of the downtown city," according to The New York Times architectural critic Aline Bernstein Louchheim[c] The deadline for the second stage arrived on February 10, 1948, and on February 18, the jury chose Saarinen's design unanimously,[24] praising its "profoundly evocative and truly monumental expression."[31] The following day,[26] during a formal dinner at Statler Hotel that the finalists and the media attended, Wurster pronounced Saarinen the winner of the competition and awarded the checks—$40,000 to his team[23] and $50,000 to Saarinen.[32] The competition was the first major architectural design that Saarinen developed unaided by his father.[24]

text: On May 25, the United States Territorial Expansion Memorial Commission endorsed the design.[26] Later, in June, the NPS approved the proposal.[23] Representative H. R. Gross, however, opposed the allocation of federal funds for the arch's development.[33]

text: The design drew varied responses. In a February 29, 1948, The New York Times article, Louchheim praised the arch's design as "a modern monument, fitting, beautiful and impressive."[34] Some local residents likened it to a "stupendous hairpin and a stainless steel hitching post." The most aggressive criticism emerged from Gilmore D. Clarke,[35] whose February 26, 1948,[16] letter compared Saarinen's arch to an arch imagined by fascist Benito Mussolini, rendering the arch a fascist symbol. This allegation of plagiarism ignited fierce debates among architects about its validity. Douglas Haskell from New York wrote that "The use of a common form is not plagiarism.... [T]his particular accusation amounts to the filthiest smear that has been attempted by a man highly placed in the architectural profession in our generation."[16] Wurster and the jury refuted the charges, arguing that "the arch form was not inherently fascist but was indeed part of the entire history of architecture."[31] Saarinen considered the opposition absurd, asserting, "It's just preposterous to think that a basic form, based on a completely natural figure, should have any ideological connection."[35]

text: By January 1951, Saarinen created 21 "drawings, including profiles of the Arch, scale drawings of the museums and restaurants, various parking proposals, the effect of the levee-tunnel railroad plan on the Arch footings, the Arch foundations, the Third Street Expressway, and the internal and external structure of the Arch." Fred Severud made calculations for the arch's structure.[36]

text: Railroad agreement (1949–1952)[edit]

text: Several proposals were offered for moving the railroad tracks, including:

text:
Bates-Ross. Tracks would cross the memorial site diagonally in a tunnel.
Bowen. Similar to Bates-Ross proposal.
Hill-Tunnel. Supported by Saarinen and NPS engineer Julian Spotts, it would route the tracks in a tunnel below Second and First Streets. Saarinen further said that if the tracks passed between the memorial and the river, he would withdraw his participation.
La Beaume-Terminal. Opposed by Saarinen and the NPS, it would lay "three tracks on a contained fill along the lines of the elevated tracks."
Levee-Tunnel. Proposed by Frank J. McDevitt, president of the St. Louis Board of Public Service, it would lower the tracks into a tunnel concealed by walls and landscaping.

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text: On July 7, 1949, in Mayor Joseph Darst's office, city officials chose the Levee-Tunnel plan, rousing JNEMA members who held that the decision had been pressed through when Smith was away on vacation. Darst notified Secretary of the Interior Julius Krug of the city's selection. Krug planned to meet with Smith and JNEM but canceled the meeting and resigned on November 11. His successor, Oscar L. Chapman, rescheduled the meeting for December 5 in Washington with delegates from the city government, JNEM, railroad officials, and Federal government. A day after the conference, they ratified a memorandum of understanding about the plan: "The five tracks on the levee would be replaced by three tracks, one owned by the Missouri Pacific Railroad (MPR) and two by the Terminal Railroad Association of St. Louis (TRRA) proceeding through a tunnel not longer than 3,000 feet. The tunnel would be approximately fifty feet west of the current elevated line." It would also have an overhead clearance of 18 feet (5.5 m), lower than the regular requirement of 22 feet (6.7 m). Chapman approved the document on December 22, 1949, and JNEM garnered the approval of the Missouri Public Service Commission on August 7, 1952.[36]

text: Efforts to appropriate congressional funds began in January 1950 but were delayed until 1953 by the Korean War's depletion of federal funds.[36]

text: Amendment of railroad agreement and authorization (1953–1958)[edit]

text: In August 1953, Secretary of the Interior Fred A. Seaton declared that the Department of the Interior and the railroads should finalize the agreement on the new route. In October, NPS and the TRRA decided that the TRRA would employ a surveyor endorsed by Spotts "to survey, design, estimate, and report on" the expenses of shifting the tracks. They chose Alfred Benesch and Associates, which released its final report on May 3, 1957. The firm estimated that the two proposals would cost more than expected: more than $11 million and $14 million, respectively. NPS director Conrad Wirth enjoined Saarinen to make small modifications to the design. In October, Saarinen redrafted the plans, suggesting:[37]

text: [the placement of] the five sets of railroad tracks into a shortened tunnel 100 feet west of the trestle, with the tracks being lowered sixteen feet. This did not mean that the memorial would be cut off from the river, however, for Saarinen provided a 960-foot-long (290 m) tunnel to be placed over the railroad where a "grand staircase" rose from the levee to the Arch. At the north and south ends of the park, 150-foot tunnels spanned the tracks, and led to the overlook museum, restaurant, and stairways down to the levee. Saarinen designed a subterranean visitor center the length of the distance between the legs, to include two theaters and an entrance by inward-sloping ramps.

text: On November 29, involved interests signed another memorandum of understanding approving Saarinen's rework; implementing it would cost about $5.053 million. On March 10, 1959, mayor Raymond Tucker proposed that they drop "the tunnel idea in favor of open cuts roofed with concrete slabs," which would cost $2.684 million, $1.5 million less than the cost of the approved plan. On May 12, 1958, Tucker, TRRA president Armstrong Chinn, and Missouri Pacific Railroad president Russell Dearmont entered a written agreement: "The TRRA would place $500,000 in escrow for the project, and the city [would] sell $980,000 of the 1935 bonds to match the Federal contribution." Director Wirth and Secretary Seaton approved the plan on June 2.[37]

text: In July 1953, Representative Leonor Sullivan introduced H.R. 6549, a bill authorizing the allocation of no more than $5 million to build the arch. After much negotiation, both houses of Congress approved the bill in May 1954, and on May 18, 1954, President Dwight D. Eisenhower signed the bill into law as Public Law 361. Congress could not afford to appropriate the funds in 1955, so association president William Crowdus resorted to asking the Rockefeller and Ford Foundations for $10 million. The foundations denied the request because their function as private foundations did not include funding national memorials. In 1956, Congress appropriated $2.64 million to be used to move the railroad tracks. The remainder of the authorized appropriation was requested via six congressional bills, introduced on July 1, 1958, that revised Public Law 361 to encompass the cost of the entire memorial, increasing federal funds by $12.25 million. A month later the Department of the Interior and the Bureau of the Budget endorsed the bill, and both houses of Congress unanimously passed the bill. Eisenhower signed it into law on September 7. The NPS held off on appropriating the additional funds, as it planned to use the already-appropriated funds to initiate the railroad work.[37]

text: Zoning, start of railroad move, and appropriation (1959–1968)[edit]

text: Saarinen and city functionaries collaborated to zone buildings near the arch. In April 1959, real estate developer Lewis Kitchen decided to construct two 40-level edifices across from the arch. In July, after the plan was condemned for its potential obstruction of the arch, Kitchen discussed the issue with officials. A decision was delayed for several months because Saarinen had yet to designate the arch's height, projected between 590 and 630 feet (180 and 190 m). By October, Mayor Tucker and Director Wirth resolved to restrict the height of buildings opposite the arch to 275 feet (84 m) (about 27 levels), and the city stated that plans for buildings opposite the arch would require its endorsement. Kitchen then decreased the height of his buildings, while Saarinen increased that of the arch.[38]

text: Moving the railroad tracks was the first stage of the project. On May 6, 1959, after an official conference, the Public Service Commission called for ventilation to accompany the tunnel's construction, which entailed "placing 3,000 feet of dual tracks into a tunnel 105 feet west of the elevated railroad, along with filling, grading, and trestle work." Eight bids for the work were reviewed on June 8 in the Old Courthouse, and the MacDonald Construction Co. of St. Louis[5] won with a bid of $2,426,115, less than NPS's estimate of the cost. At 10:30 a.m. on June 23, 1959, the groundbreaking ceremony occurred; Tucker spaded the first portion of earth. Wirth and Dickmann delivered speeches.[38]

text: The NPS acquired the $500,000 in escrow and transferred it to MacDonald to begin building the new tracks. In August, demolition of the Old Rock House[d] was complete, with workers beginning to excavate the tunnel. In November, they began shaping the tunnel's walls with concrete. Twenty-nine percent of the construction was completed by March and 95% by November. On November 17, trains began to use the new tracks. June 1962 was the projected date of fruition.[38]

text: On May 16, 1959, the Senate appropriations subcommittee received from St. Louis legislators a request for $2.4911 million, of which it granted only $133,000. Wirth recommended that they reseek the funds in January 1960.[38]

text: On March 10, 1959, Regional Director Howard Baker received $888,000 as the city's first subsidy for the project. On December 1, 1961, $23,003,150 in total had been authorized, with $19,657,483 already appropriated—$3,345,667 remained not yet appropriated.[38]

text: Construction[edit]

text: The bidding date, originally December 20, 1961, was postponed to January 22, 1962, to clarify the details of the arch construction.[e] About 50 companies that had requested the construction requirements received bidding invitations. Extending from $11,923,163 to $12,765,078, all four bids exceeded the engineer estimate of $8,067,000. Wirth had a committee led by George Hartzog determine the validity of the bids in light of the government's conditions. Following a meeting with the bidders, the committee affirmed the bids' reasonableness, and Wirth awarded the lowest bidder, MacDonald Construction Co. of St. Louis,[5] the contract for the construction of the arch and the visitor center. On March 14, 1962, he signed the contract and received from Tucker $2,500,000, the city's subsidy for the phase. MacDonald reduced its bid $500,000 to $11,442,418.[38] The Pittsburgh-Des Moines Steel Company served as the subcontractor for the shell of the arch.[16]

text: In 1959 and 1960, ground was broken,[40] and in 1961, the foundation of the structure was laid.[13] Construction of the arch itself began on February 12, 1963, as the first steel triangle on the south leg was eased into place.[16] These steel triangles, which narrowed as they spiraled to the top, were raised into place by a group of cranes and derricks.[41] The arch was assembled of 142[42] 12-foot-long (3.7 m) prefabricated stainless steel sections. Once in place, each section had its double-walled skin filled with concrete, prestressed with 252 tension bars.[43] In order to keep the partially completed legs steady, a scissors truss was placed between them at 530 feet (160 m), later removed as the derricks were taken down.[44] The whole endeavor was expected to be completed by fall 1964, in observance of St. Louis's bicentennial.[11][12][45]

text: Contractor MacDonald Construction Co. arranged a 30-foot (9.1 m) tower for spectators[46] and provided recorded accounts of the undertaking.[47] In 1963, a million people went to observe the progress, and by 1964, local radio stations began to broadcast when large slabs of steel were to be raised into place.[17]

text: The project manager of MacDonald Construction Co., Stan Wolf, said that a 62-story building was easier to build than the arch: "In a building, everything is straight up, one thing on top of another. In this arch, everything is curved."[13]

text: Delays and lawsuits[edit]

text: Although an actuarial firm predicted thirteen workers would die while building the arch, no workers were killed during the monument's construction.[48] However, construction of the arch was still often delayed by safety checks, funding uncertainties, and legal disputes.[49]

text: Civil rights activists regarded the construction of the arch as a token of racial discrimination. African Americans worked on the arch, and were hired because they were skilled laborers. On July 14, 1964, during the workers' lunchtime, civil rights protesters Percy Green and Richard Daly, both members of Congress of Racial Equality, climbed up 125-feet on the north leg of the arch to "expose the fact that federal funds were being used to build a national monument that was racially discriminating against black contractors and skilled black workers." As the pair disregarded demands to get off, protesters on the ground demanded that at least 10% of the skilled jobs belong to African Americans. Four hours later Green and Daly dismounted from the arch, to charges of "trespassing, peace disturbance, and resisting arrest."[50][51] This incident inter alia spurred the United States Department of Justice to file the first pattern or practice case against AFL–CIO under Title VII of the Civil Rights Act of 1964, on February 4, 1966, but the department later called off the charges.[52] The 1966 lawsuit was an attempt by the Office of Federal Contract Compliance (OFCC) to desegregate building-trade unions nationwide. Many technical building unions had little or no African-American representation into the mid-1960s. During Lyndon Johnson's presidency, the federal government recognized the need for more integration in all levels of society and started enforcing equal employment opportunity through federally funded job contracts.[52]

text: In 1964, the Pittsburgh-Des Moines Steel Company of Warren, Pennsylvania sued MacDonald for $665,317 for tax concerns. In 1965, NPS requested that Pittsburgh-Des Moines Steel remove the prominent letters "P-D-M" (its initials) from a creeper derrick used for construction, contending that it was promotional and violated federal law with regards to advertising on national monuments. Although Pittsburgh-Des Moines Steel initially refused to pursue what it considered a precarious venture, the company relented after discovering that leaving the initials would cost $225,000 and after that, $42,000 per month,[53] and the NPS dropped its lawsuit.[16]

text: On October 26, 1965, the International Association of Ironworkers delayed work to ascertain that the arch was safe. After NPS director Kenneth Chapman gave his word that conditions were "perfectly safe," construction resumed on October 27.[54] After the discovery of 16 defects, the tram was also delayed from running. The Bi-State Development Agency assessed that it suffered losses of $2,000 for each day the trains were stagnant.[55]

text: On January 7, 1966, members of AFL–CIO deserted their work on the visitor center,[55] refusing to work with plumbers affiliated with Congress of Industrial Unions (CIU), which represented black plumbers. A representative of AFL–CIO said, "This policy has nothing to do with race. Our experience is that these CIU members have in the past worked for substandard wages."[56] CIU applied to the National Labor Relations Board (NLRB) for an injunction that required the AFL–CIO laborers to return to work. On February 7, Judge John Keating Regan ruled that AFL–CIO workers had participated in a secondary boycott. By February 11, AFL–CIO resumed work on the arch, and an AFL–CIO contractor declared that ten African Americans were apprenticed for arch labor. The standstill in work lasted a month.[51] Considering how large Federal projects often "go haywire", Secretary of War Newton D. Baker said, "This memorial will be like a cathedral; built slowly but surely."[17]

text: Topping out and dedication[edit]

text: President Lyndon B. Johnson and Mayor Alfonso J. Cervantes decided on a date for the topping out ceremony, but the arch had not been completed by then. The ceremony date was reset to October 17, 1965, and workers strained to meet the deadline, taking double shifts, but by October 17, the arch was still not complete. The chairman of the ceremony anticipated the ceremony to be held on October 30, a Saturday, to allow 1,500 schoolchildren, whose signatures were to be placed in a time capsule, to attend. Ultimately, PDM set the ceremony date to October 28.[16]

text: The time capsule, containing the signatures of 762,000 students and others, was welded into the keystone before the final piece was set in place.[57] On October 28, the arch was topped out as then Vice President Hubert Humphrey observed from a helicopter.[58] A Catholic priest and a rabbi prayed over the keystone,[32] a 10-short-ton (9.1 t), eight-foot-long (2.4 m) triangular section.[59] It was slated to be inserted at 10:00 a.m. local time but was done 30 minutes early[32] because thermal expansion had constricted the 8.5-foot (2.6 m) gap at the top[59] by 5 inches (13 cm).[58] To mitigate this, workers used fire hoses to spray water on the surface of the south leg to cool it down[49] and make it contract.[58] The keystone was inserted in 13 minutes,[32] only 6 inches (15 cm) remained. For the next section, a hydraulic jack had to pry apart the legs six feet (1.8 m). The last section was left only 2.5 feet (0.76 m).[59] By 12:00 p.m., the keystone was secured.[32] Some filmmakers, in hope that the two legs would not meet, had chronicled every phase of construction.[60]

text: The Gateway Arch was expected to open to the public by 1964, but in 1967 the public relations agency stopped forecasting the opening date.[55] The arch's visitor center opened on June 10, 1967, and the tram began operating on July 24.[10]

text: The arch was dedicated by Humphrey on May 25, 1968.[61] He declared that the arch was "a soaring curve in the sky that links the rich heritage of yesterday with the richer future of tomorrow"[62] and brings a "new purpose" and a "new sense of urgency to wipe out every slum." "Whatever is shoddy, whatever is ugly, whatever is waste, whatever is false, will be measured and condemned" in comparison to the Gateway Arch. About 250,000 people were expected to attend, but rain canceled the outdoor activities.[61] The ceremony had to be transferred into the visitor center.[62][f] After the dedication, Humphrey crouched beneath an exit as he waited for the rain to subside so he could walk to his vehicle.[61]

text: After completion[edit]

text: The project did not provide 5,000 jobs as expected—as of June 1964, workers numbered fewer than 100. The project did, however, incite other riverfront restoration efforts, totaling $150 million. Building projects included a 50,000-seat sports stadium, a 30-story hotel, several office towers, four parking garages, and an apartment complex.[17] The idea of a Disneyland amusement park that included "synthetic riverboat attractions" was considered but later abandoned.[63][64] The developers hoped to use the arch as a commercial catalyst, attracting visitors who would use their services.[17] One estimate found that since the 1960s, the arch has incited almost $503,000,000 worth of construction.[65]

text: In June 1976, the memorial was finalized by federal allocations—"the statue of Thomas Jefferson was unveiled, the Museum of Westward Expansion was previewed, a theater under the Arch was dedicated in honor of Mayor Raymond Tucker and the catenary-like curving staircases from the Arch down to the levee were built."[16]

text: Characteristics[edit]

text: Physical characteristics[edit]

text: Both the width and height of the arch are 630 feet (192 m).[7][58] The arch is the tallest memorial in the United States[4] and the tallest stainless steel monument in the world.[66]

text: The cross-sections of the arch's legs are equilateral triangles, narrowing from 54 feet (16 m) per side at the bases to 17 feet (5.2 m) per side at the top.[67] Each wall consists of a stainless steel skin covering a sandwich of two carbon-steel walls with reinforced concrete in the middle from ground level to 300 feet (91 m), with carbon steel to the peak.[45][68] The arch is hollow to accommodate a unique tram system that takes visitors to an observation deck at the top.[11]

text: The structural load is supported by a stressed-skin design.[69] Each leg is embedded in 25,980 short tons (23,570 t) of concrete 44 feet (13 m) thick[58] and 60 feet (18 m) deep.[70] Twenty feet (6.1 m) of the foundation is in bedrock.[70] The arch is resistant to earthquakes[71] and is designed to sway up to 18 inches (46 cm) in either direction,[72] while withstanding winds up to 150 miles per hour (240 km/h).[73] The structure weighs 42,878 short tons (38,898 t), of which concrete composes 25,980 short tons (23,570 t); structural steel interior, 2,157 short tons (1,957 t); and the stainless steel panels that cover the exterior of the arch, 886 short tons (804 t).[61] This amount of stainless steel is the most used in any one project in history.[66][73] The base of each leg at ground level had to have an engineering tolerance of 1⁄64 inch (0.40 mm) or the two legs would not meet at the top.[7]

text: Mathematical elements[edit]

text: The geometric form of the structure was set by mathematical equations provided to Saarinen by Hannskarl Bandel. Bruce Detmers and other architects expressed the geometric form in blueprints with this equation:[74]

text:
y
=
A

(

cosh

C
x

L

−
1

)

⇔

x
=

L
C

cosh

−
1

(

1
+

y
A

)

{\displaystyle y=A\left(\cosh {\frac {Cx}{L}}-1\right)\quad \Leftrightarrow \quad x={\frac {L}{C}}\cosh ^{-1}\left(1+{\frac {y}{A}}\right)}

,

text: with the constants

text:
A
=

f

c

Q

b

/

Q

t

−
1

=
68.7672

{\displaystyle A={\frac {f_{c}}{Q_{b}/Q_{t}-1}}=68.7672}

text:
C
=

cosh

−
1

Q

b

Q

t

=
3.0022

{\displaystyle C=\cosh ^{-1}{\frac {Q_{b}}{Q_{t}}}=3.0022}

text: where fc = 625.0925 ft (191 m) is the maximum height of centroid, Qb = 1,262.6651 sq ft (117 m2) is the maximum cross sectional area of arch at base, Qt = 125.1406 sq ft (12 m2) is the minimum cross sectional area of arch at top, and L = 299.2239 ft (91 m) is the half width of centroid at the base. The triangular cross sectional area varies linearly with the vertical height of its centroid.

text: This hyperbolic cosine function describes the shape of a catenary. A chain that supports only its own weight forms a catenary; the chain is purely in tension.[75][76] Likewise, an inverted catenary arch that supports only its own weight is purely in compression, with no shear. The catenary arch is the stablest of all arches since "the thrust passes down through the legs and is absorbed in the foundations, whereas in other arches, the pressure tends to force the legs apart."[16] The Gateway Arch itself is not a common catenary, but a more general curve of the form y=Acosh (Bx).[77] This makes it an inverted weighted catenary.[44][78] Saarinen chose a weighted catenary over a normal catenary curve because it looked less pointed and less steep. In 1959, he caused some confusion about the actual shape of the arch when he wrote, "This arch is not a true parabola, as is often stated. Instead it is a catenary curve—the curve of a hanging chain—a curve in which the forces of thrust are continuously kept within the center of the legs of the arch." William V. Thayer, a professor of mathematics at St. Louis Community College, later wrote to the St. Louis Post-Dispatch calling attention to the fact that the structure was a weighted catenary.[79]

text: Lighting[edit]

text: The first proposal to illuminate the arch at night was announced on May 18, 1966, but the plan never came to fruition.[10] In July 1998, funding for an arch lighting system was approved by St. Louis's Gateway Foundation,[80] which agreed to take responsibility for the cost of the equipment, its installation, and its upkeep.[81] In January 1999, MSNBC arranged a temporary lighting system for the arch so the monument could be used as the background for a visit by Pope John Paul II.[80] Since November 2001, the arch has been bathed in white light between 10 p.m. and 1 a.m. via a system of floodlights.[82] Designed by Randy Burkett, it comprises 44 lighting fixtures situated in four pits just below ground level.[80][81]

text: On October 5, 2004, the U.S. Senate, at the pressing of Senators Jim Talent and Kit Bond, approved a bill permitting the illumination in pink of the arch in honor of breast cancer awareness month.[83] Both Estee Lauder and May Department Store Co. had championed the cause.[84] One employee said that the arch would be a "beacon ... for the importance of prevention and finding a cure."[85] While the National Park Service took issue with the plan due to the precedent it would set for prospective uses of the arch, it yielded due to a realization that it and Congress were "on the same team" and because the illumination was legally obligatory; on October 25, the plan was carried out.[86] The previous time the arch was illuminated for promotional purposes was on September 12, 1995,[87] under the management of local companies Fleishman-Hillard and Technical Productions when a rainbow spectrum was shone on the arch to publicize the debut of Ringling Bros. and Barnum & Bailey Circus' Wizard of Oz on Ice at the Scottrade Center (then named the "Kiel Center").[84][88]

text: Public access[edit]

text: In April 1965, three million tourists were expected to visit the arch after completion;[13] 619,763 tourists visited the top of the arch in its first year open. On January 15, 1969, a visitor from Nashville, Tennessee, became the one-millionth person to reach the observation area; the ten-millionth person ascended to the top on August 24, 1979.[10] In 1974, the arch was ranked fourth on a list of "most-visited man-made attraction[s]".[16] The Gateway Arch is one of the most visited tourist attractions in the world with over four million visitors annually,[89] of which around one million travel to the top.[90] The arch was listed as a National Historic Landmark on June 2, 1987, and is also listed on the National Register of Historic Places.[4]

text: On December 8, 2009, sponsored by nonprofit CityArchRiver2015, the international design competition "Framing a Modern Masterpiece: The City + The Arch + The River 2015" commenced.[91] It aimed to "design a plan to improve the riverfront park landscape, ease access for pedestrians across Memorial Drive and expand onto the East St. Louis riverfront,"[92] as well as to lure visitors.[93] The contest consisted of three stages—portfolio assessment (narrowed down to 8–10 teams), team interviews (narrowed down to 4–5 teams), and review of design proposals.[94] The competition received 49 applicants,[95] which were narrowed down to five in the first two stages. On August 17, 2010, the designs of the five finalists were revealed to the public and exhibited at the theater below the arch.[96] On August 26, the finalists made their cases to an eight-member jury,[97][98] and on September 21,[99] the winner was revealed—Michael Van Valkenburgh Associates. The initiative's plans include updating Kiener Plaza and the Old Courthouse, connecting the city to the Arch grounds with a park over Interstate 70, a re-imagined museum and improved accessibility. The budget for the project is $380 million and is set to be completed in 2018.[95]

text: Ground broke on the 'Park over the Highway' project, the first component of the CityArchRiver project, on August 2, 2013. This project features a landscaped structure over Interstate 70 and rerouted surface traffic that had previously formed a moat separating the Gateway Arch from the Old Courthouse.This project was completed in December 2014.[100]

text: Visitor center[edit]

text: The underground visitor center for the arch was designed as part of the National Park Service's Mission 66 program.[101] The 70,000-square-foot (6,500 m2) center is located directly below the arch,[102] between its legs. Although construction on the visitor center began at the same time as construction for the arch itself, it did not conclude until 1976 because of insufficient funding;[103] however, the center opened with several exhibits on June 10, 1967.[10] Access to the visitor center is provided through ramps adjacent to each leg of the arch.[103]

text: The center houses offices, mechanical rooms, and waiting areas for the arch trams, as well as its main attractions: the Museum of Westward Expansion and two theaters displaying films about the arch.[103] The older theater opened in May 1972;[10] the newer theater, called the Odyssey Theatre, was constructed in the 1990s and features a four-story-tall screen. Its construction required the expansion of the underground complex, and workers had to excavate solid rock while keeping the disruption to a minimum so the museum could remain open.[103] The museum houses several hundred exhibits about the United States' westward expansion in the 19th century[67] and opened on August 10, 1977.[10]

text: As part of the CityArchRiver project, the visitor center and museum are undergoing a $176 million expansion and renovation that is set to be completed by the summer of 2018.[104] Once completed, the renovation will include a 46,000-square-foot underground addition featuring interactive story galleries, video walls, a fountain and a cafe.[104]

text: Observation area[edit]

text: Near the top of the Arch, passengers exit the tram compartment and climb a slight grade to enter the observation area. This arched deck, which is over 65 feet (20 m) long and 7 feet (2.1 m) wide,[105] can hold up to about 160 people, four trams' worth[68] Sixteen windows per side, each measuring 7 by 27 inches (180 mm × 690 mm), offer views up to 30 miles (48 km)[106] to the east across the Mississippi River and southern Illinois with its prominent Mississippian culture mounds at Cahokia Mounds and to the west over the city of St. Louis and St. Louis County beyond.[citation needed]

text: Modes of ascent[edit]

text: There are three modes of transportation up the arch: two sets of 1,076-step emergency stairs (one per leg),[107] a 12-passenger elevator to the 372-foot (113 m) height,[17] and a tram in each leg.[11]

text: Each tram is a chain of eight cylindrical, five-seat compartments[108] with a small window on the doors.[109] As each tram has a capacity of 40 passengers and there are two trams, 80 passengers can be transported at one time, with trams departing from the ground every 10 minutes.[73] The cars swing like Ferris-wheel cars as they ascend and descend the arch.[70] This fashion of movement gave rise to the idea of the tram as "half-Ferris wheel and half-elevator."[70] The trip to the top takes four minutes,[40] and the trip down takes three minutes.[68]

text: Because of a lack of funds in March 1962, the NPS did not accept bids for the arch's internal train system[38] and considered discarding the idea.[16] In May 1962,[16] the Bi-State Development Agency proposed that it issue revenue bonds to obtain the required funds. The Department of the Interior and Bi-State entered into an agreement where Bi-State would construct and operate the tram.[16][38] Bi-State would have to raise $1,977,750 for the construction of the tram system.[38] It retired the bonds by setting a $1 riding fee to the top.[g] Two months later, the agency had already received 45 advance reservations for seats on the tram.[16]

text: Bi-State put in $3.3 million revenue bonds and has operated the tram system since.[110] The tram in the north leg entered operation in June 1967,[69] but visitors were forced to endure three-hour-long waits until April 21, 1976, when a reservation system was put in place.[10] The south tram was completed by March 1968. Commemorative pins were awarded to the first 100,000 passengers.[16] As of 2007, the trams have traveled 250,000 miles (400,000 km), conveying more than 25 million passengers.[73]

text: Incidents[edit]

text: On July 8, 1970, a six-year-old boy, his mother, and two of her friends were trapped in a tram in the arch's south leg after the monument closed. According to the boy's mother, the group went up the arch around 9:30 p.m. CDT, but when the tram reached the de-boarding area, its doors did not open. The tram then reportedly traveled up to a storage area 50 feet (15 m) above the ground, and the power was switched off.[111] One person was able to pry open the tram door and the four managed to reach a security guard for help after being trapped for about 45 minutes.[10]

text: On July 21, 2007, a broken cable forced the south tram to be shut down, leaving only the north tram in service until repairs were completed in March 2008.[90] Around 200 tourists were stuck inside the arch for up to three hours because the severed cable contacted a high-voltage rail, causing a fuse to blow. The north tram was temporarily affected by the power outage as well, but some passengers were able to exit the arch through the emergency stairs and elevator. It was about two hours until all the tram riders safely descended, while those in the observation area at the time of the outage had to wait an additional hour before being able to travel back down. An arch official said the visitors, most of whom stayed calm during the ordeal, were not in any danger; they were later given refunds.[112] The incident occurred while visitors in the arch were watching a fireworks display, and no one was seriously injured in the event. However, two people received medical treatment; one person needed oxygen and the other was diabetic.[113] Almost immediately after the tram returned to service, however, it was closed again for new repairs after an electrical switch broke. The incident, which occurred on March 14, 2008, was billed as a "bad coincidence."[114]

text: On the morning of February 9, 2011, a National Park Service worker was injured while performing repairs on the south tram. The 55-year-old was working on the tram's electrical system when he was trapped between it and the arch wall for around 30 seconds, until being saved by other workers. Emergency officials treated the injured NPS employee at the arch's top before taking him to Saint Louis University Hospital in a serious condition.[115]

text: On March 24, 2011, around one hundred visitors were stranded in the observation area for 45 minutes after the doors of the south tram refused to close. The tourists were safely brought down the arch in the north tram, which had been closed that week so officials could upgrade it with a new electronic transportation system. The National Park Service later attributed the malfunction to a computer glitch associated with the new system, which had already been implemented with the south tram. No one was hurt in the occurrence, but the arch suffered a slight loss in spring break tourism revenue.[116][117]

text: Around 2:15 p.m. local time on June 16, 2011, the arch's north tram stalled due to a power outage.[118] The tram became stuck about 200 feet (61 m) from the observation deck, and passengers eventually were told to climb the stairs to the observation area.[119] It took National Park Service workers about one hour to manually pull the tram to the top, and the 40 trapped passengers were able to return down on the south tram, which had previously not been operating that day because there was not an abundance of visitors. An additional 120 people were at the observation deck at the time of the outage and also exited via the south tram. During the outage, visitors were stuck in the tram with neither lighting nor air conditioning.[118] No one was seriously injured in the incident, but one visitor lost consciousness after suffering a panic attack,[120] and a park ranger was taken away with minor injuries. The cause of the outage was not immediately known.[118]

text: Stunts and accidents[edit]

text: On June 16, 1965, the Federal Aviation Administration cautioned that aviators who flew through the arch would be fined and their licenses revoked.[121] At least ten pilots have disobeyed this order,[10] beginning on June 22, 1966.[16]

text: In 1973, Nikki Caplan was granted an FAA exception to fly a hot air balloon between the arch's legs as part of the Great Forest Park Balloon Race.[122] During the flight, on which the St. Louis park director was a passenger, the balloon hit the arch and plummeted 70 feet before recovering.[123]

text: In 1976, a U.S. Army exhibition skydiving team was permitted to fly through the arch as part of Fourth of July festivities,[124] and since then, numerous skydiving exhibition teams have legally jumped onto the Arch grounds, after having flown their parachutes through the legs of the Arch.

text: The arch has been a target of various stunt performers, and while such feats are generally forbidden, several people have parachuted to or from the arch regardless. In June 1980, the National Park Service declined a request by television producers to have a performer jump from the arch; a similar appeal by stuntman Dan Koko was also turned away in February 1986.[10] Koko, who was a stunt double for Superman, wanted to perform the leap during Fourth of July celebrations.[125] In 2013 Alexander Polli, a European BASE jumper, planned to fly a wingsuit under the arch but had his demo postponed by the FAA.

text: 1980 accident[edit]

text: On November 22, 1980, at about 8:45 a.m. CST, 33-year-old Kenneth Swyers of Overland, Missouri, parachuted onto the top of the arch. His plan was to release his main parachute and then jump off the arch using his reserve parachute to perform a base jump. Unfortunately, after landing the wind blew him to the side, and he slid down the north leg to his death.[126] The accident was witnessed by several people, including Swyers' wife, also a parachutist. She said her husband "was not a hot dog, daredevil skydiver" and that he had prepared for the jump two weeks in advance. Swyers, who had made over 1,600 jumps before the incident, was reported by one witness to have "landed very well" on the top of the arch, but "had no footing."[124] Swyers was reportedly blown to the top of the arch by the wind and was unable to save himself when his reserve parachute failed to deploy.[126] The Federal Aviation Administration said the jump was unauthorized, and investigated the pilot involved in the incident.[124]

text: On December 27, 1980, St. Louis television station KTVI reported receiving calls from supposed witnesses of another stunt landing. The alleged parachutist, who claimed to be a retired professional stuntman, was said to be wearing a Santa Claus costume when he jumped off an airplane around 8:00 a.m. CST, parachuted onto the arch, grasped the monument's beacon, and used the same parachute to glide down unharmed. KTVI said it was told the feat was done as an act of homage to Swyers, and "apparently was a combination of a dare, a drunk, and a tribute."[127] On the day after the alleged incident, authorities declared the jump a hoax. A spokesperson for the St. Louis Metropolitan Police Department said no calls were received about the jump until after it was broadcast on the news, and the Federal Aviation Administration said the two calls it had received were very similar. One caller also left an out-of-service phone number, while the other never followed up with investigators.[128] Arch officials said they did not witness any such jump, and photos provided by the alleged parachutist were unclear.[127]

text: 1992 stunt[edit]

text: On September 14, 1992, 25-year-old John C. Vincent climbed to the top of the Gateway Arch using suction cups and proceeded to parachute back to the ground. He was later charged with two misdemeanors: climbing a national monument and parachuting in a national park. Federal prosecutor Stephen Higgins called the act a "great stunt" but said it was "something the Park Service doesn't take lightly."[129] Vincent, a construction worker and diver from Harvey, Louisiana,[130] said he did it "just for the excitement, just for the thrill," and had previously parachuted off the World Trade Center in May 1991. He said that scaling the arch "wasn't that hard" and had considered a jump off the monument for a few months. In an interview, Vincent said he visited the arch's observation area a month before the stunt, to see if he could use a maintenance hatch for accessing the monument's peak. Due to the heavy security, he instead decided to climb up the arch's exterior using suction cups, which he had used before to scale shorter buildings. Dressed in black, Vincent began crawling up the arch around 3:30 a.m. CST on September 14 and arrived undetected at the top around 5:45 a.m., taking an additional 75 minutes to rest and take photos before finally jumping. During this time, he was seen by two traffic reporters inside the One Metropolitan Square skyscraper.[131]

text: Vincent was also spotted mid-air by Deryl Stone, a Chief Ranger for the National Park Service. Stone reported seeing Vincent grab his parachute after landing and run to a nearby car, which quickly drove away. However, authorities were able to detain two men on the ground who had been videotaping the jump.[132] Stone said 37-year-old Ronald Carroll and 27-year-old Robert Weinzetl, both St. Louis residents, were found with a wireless communication headset and a video camera, as well as a still camera with a telephoto lens. The two were also charged with two misdemeanors: disorderly conduct and commercial photography in a national park.[131] Vincent later turned himself in and initially pleaded not guilty to the charges against him.[130] However, he eventually accepted a guilty plea deal in which he testified against Carroll and Weinzetl, revealing that the two consented to recording the jump during a meeting of all three on the day before his stunt occurred.[133] Federal magistrate judge David D. Noce ruled on January 28, 1993, that Carroll had been involved in a conspiracy and was guilty of both misdemeanor charges; the charges against Weinzetl had been dropped by federal attorneys. In his decision, Noce stated, "There are places in our country where the sufficiently skilled can savor the exhilaration and personal satisfaction of accomplishing courageous and intrepid acts, of reaching dreamed-of heights and for coursing dangerous adventures," but added that other places are designed for "the exhilaration of mere observation and for the appreciation of the imaginings and the works of others. The St. Louis Arch and the grounds of the Jefferson National Expansion Memorial are in the latter category."[134]

text: Security[edit]

text: Two years after the 1995 Oklahoma City bombing, a little over $1 million was granted to institute a counterterrorism program. Park officials were trained to note the activity of tourists, and inconspicuous electronic detection devices were installed. After the September 11 attacks in 2001, security efforts were more prominent, security checkpoints moved to the entrance of the visitor center.[135] At the checkpoints, visitors are screened by magnetometers and x-ray equipment,[136] devices which have been in place since 1997.[137]

text: The Arch also became one of several U.S. monuments placed under restricted airspace during 2002 Fourth of July celebrations.[138][139] In 2003, 10-foot-long (3.0 m), 32-inch-high (81 cm), 4,100-pound (1,900 kg)[140] movable Jersey barriers[141] were installed to impede terrorist attacks on the arch. Later that year, it was announced that these walls were to be replaced by concrete posts encased in metal to be more harmonious with the steel color of the arch.[142] The movable bollards can be manipulated from the park's dispatch center, which has also been upgraded.[143]

text: In 2006, arch officials hired a "physical security specialist," replacing a law enforcement officer. The responsibilities of the specialist include risk assessment, testing the park's security system, increasing security awareness of other employees, and working with other government agencies to improve the arch's security procedures.[143]

text: Symbolism and culture[edit]

text:
The Gateway Arch packs a significant symbolic wallop just by standing there. But the Arch has a mission greater than being visually affecting. Its shape and monumental size suggest movement through time and space, and invite inquiry into the complex, fascinating story of our national expansion.[144]

Robert W. Duffy of the St. Louis Post-Dispatch, October 4, 2003

text: Built as a monument to the westward expansion of the United States, the arch typifies "the pioneer spirit of the men and women who won the West, and those of a latter day to strive on other frontiers." The arch has become the iconic image of St. Louis,[59] appearing in many parts of city culture. In 1968, three years after the monument's opening, the St. Louis phone directory contained 65 corporations with "Gateway" in their title and 17 with "Arch". Arches also appeared over gas stations and drive-in restaurants.[121] In the 1970s, a local sports team adopted the name "Fighting Arches"; St. Louis Community College would later (when consolidating all athletic programs under a single banner) name its sports teams "Archers". Robert S. Chandler, an NPS superintendent, said, "Most [visitors] are awed by the size and scale of the Arch, but they don't understand what it's all about.... Too many people see it as just a symbol of the city of St. Louis."[65]

text: The arch has also appeared as a symbol of the State of Missouri. On November 22, 2002, at the Missouri State Capitol, Lori Hauser Holden, wife of then Governor Bob Holden uncovered the winning design for a Missouri coin design competition as part of the Fifty States Commemorative Coin Program. Designed by watercolorist Paul Jackson,[145] the coin portrays "three members of the Lewis and Clark expedition paddling a boat on the Missouri River upon returning to St. Louis" with the arch as the backdrop.[146] Holden said that the arch was "a symbol for the entire state .... Four million visitors each year see the Arch. [The coin] will help make it even more loved worldwide."[147] [h] A special license plate designed by Arnold Worldwide[149] featured the arch, labeled with "Gateway to the West."[150] Profits earned from selling the plates would fund the museum and other educational components of the arch.[151]

text: Louchheim wrote that although the arch "has a simplicity which should guarantee timeliness", it is entirely modern as well because of the innovative design and its scientific considerations.[34] In The Dallas Morning News, architectural critic David Dillon opined that the arch exists not as a functional edifice but as a symbol of "boundless American optimism". He articulates the arch's multiple "moods"—"reflective in sunlight, soft and pewterish in mist; crisp as a line drawing one moment, chimerical the next"—as a way the arch has "paid for itself many times over in wonder".[60]

text: Some have questioned whether St. Louis really was—as Saarinen said[23]—the "Gateway to the West". Kansas City-born "deadline poet" Calvin Trillin wrote,[152]

text: I know you're thinking that there are considerable differences between T.S. Eliot and me. Yes, it is true that he was from St. Louis, which started calling itself the Gateway to the West after Eero Saarinen's Gateway Arch was erected, and I'm from Kansas City, where people think of St. Louis not as the Gateway to the West but as the Exit from the East.

text: Awards and recognitions[edit]

text: In 1966, the arch was given a Special Award for Excellence from the American Institute of Steel Construction for being "an outstanding achievement in technology and aesthetics."[153][154] On February 9, 1967, the arch received the Outstanding Civil Engineering Achievement Award of 1967 from the American Society of Civil Engineers.[155] The arch was once among Travel + Leisure's unofficial rankings for the most-visited attraction in the world, after Lenin's Tomb, Disney World, Disneyland, and the Eiffel Tower.[156] On February 22, 1990,[157] the arch received the American Institute of Architects' (AIA) Twenty-Five Year Award[42] for its "enduring significance that has withstood the test of time." It was declared "a symbolic bridge between East and West, past and future, engineering and art" that "embodies the boundless optimism of a growing nation."[158] In 2007, the arch was ranked fourteenth on the AIA's "America's Favorite Architecture" list.[159]

text: Cultural references[edit]

text:
Dutch composer Peter Schat wrote a 1997 work, Arch Music for St. Louis, Op. 44.[160][161] for the St. Louis Symphony Orchestra. It premiered on January 8, 1999, at the Powell Symphony Hall. Since Schat did not ascend the arch due to his fear of heights, he used his creativity to depict in music someone riding a tram to the top of the arch.[161]
Paul Muldoon's poem, "The Stoic", is set under the Gateway Arch. The work, "an elegy for a miscarried foetus,"[162] describes Muldoon's ordeal standing under the Gateway Arch after his wife telephoned and informed him that the baby they were expecting had been miscarried.
A damaged Gateway Arch is prominently featured in Defiance, a science fiction television series. The apex is used as a radio station studio, with the arch itself acting as the station's antenna.[163]

text: Maintenance[edit]

text: The first act of vandalism was committed in June 1968: the vandals etched their names on various parts of the arch. In all, $10,000 was spent that year to repair damage from vandalism.[16] The arch was first targeted by graffiti artists on March 5, 1969.[10]

text: In 2010, signs of corrosion were reported at the upper regions of the stainless steel surface. Carbon steel in the north leg has been rusting, possibly a result of water accumulation, a side effect of leaky welds in an environment that often causes rain inside. Maintenance workers use mops[164] and a temporary setup of water containers to ease the problem.[165] According to NPS documents, the corrosion and rust pose no safety concerns.[164]

text: A more comprehensive study of the corrosion had been suggested as early as 2006 by architectural specialists studying the Arch, and reiterated in a 2010 Historic Structure Report. In September 2010, the NPS granted Wiss, Janney, Elstner Associates, Inc. a contract for a structural study that would "gather data about the condition of the Arch to enable experts to develop and implement the right long-term solutions."[166]

text: Stain samples were taken from the west face of the Arch on October 21, 2014, to determine the best way to clean it. The cleaning will cost about $340,000.[167]


document_title: My Fair Lady (film)

question_text: what era is my fair lady set in

question_tokens: what era is my fair lady set in

text: My Fair Lady (film)

text: Plot[edit]

text: In Edwardian London, Professor Henry Higgins (Rex Harrison), a scholar of phonetics, believes that the accent and tone of one's voice determines a person's prospects in society. In Covent Garden one evening, he boasts to a new acquaintance, Colonel Hugh Pickering (Wilfrid Hyde-White), himself an expert in phonetics, that he could teach any person to speak in a way that he could pass them off as a duke or duchess at an embassy ball. Higgins selects as an example a young flower seller, Eliza Doolittle (Audrey Hepburn), who has a strong Cockney accent. Eliza's ambition is to work in a flower shop, but her thick accent makes her unsuitable. Having come from India to meet Higgins, Pickering is invited to stay with the professor. The following morning, Eliza shows up at Higgins' home, seeking lessons. Pickering is intrigued and offers to cover all expenses if the experiment should be successful.

text: Eliza's father, Alfred P. Doolittle (Stanley Holloway), a dustman, shows up three days later, ostensibly to protect his daughter's virtue, but in reality simply to extract some money from Higgins, and is bought off with £5. Higgins is impressed by the man's honesty, his natural gift for language, and especially his brazen lack of morals. Higgins recommends Alfred to a wealthy American who is interested in morality. Eliza goes through many forms of speech training, such as speaking with marbles in her mouth, enduring Higgins' harsh approach to teaching and his treatment of her personally. She makes little progress, but just as she, Higgins, and Pickering are about to give up, Eliza finally "gets it"; she instantly begins to speak with an impeccable upper class accent.

text: As a test, Higgins takes her to Ascot Racecourse, where she makes a good impression initially, only to shock everyone by a sudden lapse into vulgar Cockney while cheering on a horse. Higgins, who dislikes the pretentiousness of the upper class, partly conceals a grin behind his hand. Eliza poses as a mysterious lady at an embassy ball and even dances with a foreign prince. At the ball is Zoltan Karpathy (Theodore Bikel), a Hungarian phonetics expert trained by Higgins. After a brief conversation with Eliza, he certifies that she is not only Hungarian, but of royal blood, declaring her to be a Princess.

text: After all the effort she has put in, however, Eliza's actions aren't even acknowledged; all the praise going to Higgins. This, and his callous treatment towards her afterwards, especially his indifference to her future, causes her to throw Higgins' slippers at him, and to walk out on him, leaving him mystified by her ingratitude. Accompanied by Freddy Eynsford-Hill (Jeremy Brett), a young man she met at Ascot and who is charmed by her, Eliza returns to her old life, but finds that she no longer fits in. She meets her father, who has been left a large fortune by the wealthy American to whom Higgins had recommended him, and is resigned to marrying Eliza's stepmother. Alfred feels that Higgins has ruined him, since he is now bound by morals and responsibility. Eventually, Eliza ends up visiting Higgins' mother (Gladys Cooper), who is enraged at her son's behaviour.

text: The next day, Higgins finds Eliza gone and searches for her, eventually finding her at his mother's house. Higgins attempts to talk Eliza into coming back to him. He becomes angered when Eliza announces that she is going to marry Freddy and become Karpathy's assistant. He makes his way home, stubbornly predicting that she will come crawling back. However, he comes to the realization that he has "grown accustomed to her face." Henry returns to his study to lament his loneliness. As he listens to Eliza's recorded voice, she reappears in the doorway behind him, turning off the recording and saying in her old Cockney accent, "I washed my hands and face before I come I did." Higgins looks surprised then pleased before asking for his slippers once more as Eliza smiles on behind him, leaving the audience to decide what happens next.

text: Cast[edit]

text:
Audrey Hepburn as Eliza Doolittle

Marni Nixon as Eliza's singing voice (uncredited)

Rex Harrison as Professor Henry Higgins
Stanley Holloway as Alfred P. Doolittle
Wilfrid Hyde-White as Colonel Hugh Pickering
Gladys Cooper as Mrs. Higgins
Jeremy Brett as Freddy Eynsford-Hill

Bill Shirley as Freddy's singing voice (uncredited)

Theodore Bikel as Zoltan Karpathy
Mona Washbourne as Mrs. Pearce, Higgins' housekeeper
Isobel Elsom as Mrs. Eynsford-Hill
John Holland as the Butler

text: Uncredited Cast

text:
Henry Daniell as the British Ambassador
Baroness Rothschild as the Queen of Transylvania
Buddy Bryant as Prince Gregor of Transylvania
Charles Fredericks as the King in Eliza's fantasy
Lillian Kemble-Cooper as female Ambassador (in yellow dress) at Ball
Queenie Leonard as Cockney bystander
Moyna MacGill as Lady Boxington
Alan Napier as gentleman escorting Eliza to the Queen
Betty Blythe as Lady at Ball
Marjorie Bennett as Cockney with pipe

text: Musical numbers[edit]

text:
"Overture" – played by orchestra.
"Why Can't the English Learn to Speak?" – performed by Rex Harrison, Wilfrid Hyde-White and Audrey Hepburn.
"Wouldn't It Be Loverly?" – performed by Audrey Hepburn (dubbed by Marni Nixon) and chorus.
"An Ordinary Man" – performed by Rex Harrison.
"With a Little Bit of Luck" – performed by Stanley Holloway, John Alderson, John McLiam, and chorus.
"Just You Wait" – sung by Audrey Hepburn (partially dubbed by Marni Nixon) and Charles Fredericks.
"Servants Chorus" – sung by Mona Washbourne and chorus.
"The Rain in Spain" – performed by Rex Harrison, Wilfrid Hyde-White, and Audrey Hepburn (partially dubbed by Marni Nixon).
"I Could Have Danced All Night" – performed by Audrey Hepburn (mostly dubbed by Marni Nixon), Mona Washbourne and chorus.
"Ascot Gavotte" – sung by chorus.
"Ascot Gavotte (Reprise)" – sung by chorus.
"On the Street Where You Live" – sung by Jeremy Brett (dubbed by Bill Shirley).
"Intermission" – played by orchestra.
"Transylvanian March" – played by orchestra.
"Embassy Waltz" – played by orchestra.
"You Did It" – performed by Rex Harrison, Wilfrid Hyde-White, and chorus.
"Just You Wait (Reprise)" – sung by Audrey Hepburn.
"On the Street Where You Live" (reprise) – sung by Jeremy Brett (dubbed by Bill Shirley).
"Show Me" – sung by Audrey Hepburn (dubbed by Marni Nixon) and Jeremy Brett (dubbed by Bill Shirley).
"Wouldn't It Be Loverly" (reprise) – sung by Audrey Hepburn (dubbed by Marni Nixon) and chorus.
"Get Me to the Church on Time" – performed by Stanley Holloway, John Alderson, John McLiam, and chorus.
"A Hymn to Him (Why Can't A Woman Be More Like a Man?)" – performed by Rex Harrison and Wilfrid Hyde-White.
"Without You" – sung by Audrey Hepburn (dubbed by Marni Nixon) and Rex Harrison.
"I've Grown Accustomed to Her Face" – performed by Rex Harrison.
"Finale" – played by orchestra.

tag: ol

text: Production[edit]

text: The head of CBS, William S. Paley, put up the money for the original Broadway production in exchange for the rights to the cast album (through Columbia Records). When Warner bought the film rights in February 1962 for the then-unprecedented sum of $5 million, it was agreed that the rights to the film would revert to CBS seven years following release.[4]

text: Order of musical numbers[edit]

text: The order of the songs in the show was followed faithfully, except for "With a Little Bit of Luck". The song is listed as being the third musical number in the play; in the film it is the fourth. Onstage, the song is split into two parts sung in two different scenes. Part of the song is sung by Doolittle and his cronies just after Eliza gives him part of her earnings, immediately before she makes the decision to go to Higgins's house to ask for speech lessons. The second half of the song is sung by Doolittle just after he discovers that Eliza is now living with Higgins. In the film, the entire song is sung in one scene that takes place just after Higgins has sung "I'm an Ordinary Man". However, the song does have a dialogue scene (Doolittle's conversation with Eliza's landlady) between verses.

text: The instrumental "Busker Sequence", which opens the play immediately after the Overture, is the only musical number from the play omitted in the film version. However, there are several measures from this piece that can be heard as we see Eliza in the rain, making her way through the cars and carriages in Covent Garden.

text: All of the songs in the film were performed near complete; however, there were some verse omissions, as there sometimes are in film versions of Broadway musicals. For example, in the song "With a Little Bit of Luck", the verse "He does not have a Tuppence in his pocket", which was sung with a chorus, was omitted, due to space and its length. The original verse in "Show Me" was used instead.

text: The stanzas of "You Did It" that came after Higgins says "she is a Princess" were originally written for the Broadway version, but Harrison hated the lyrics for whatever reason, and refused to perform the song unless and until those lyrics were omitted, which they were in most Broadway versions. However, Cukor insisted that the omitted lyrics be restored for the film version or he would not direct at all, causing Harrison to oblige. The omitted lyrics end with the words "Hungarian Rhapsody" followed by the servants shouting "Bravo" three times, to the strains of Liszt's "Hungarian Rhapsody" before the servants sing "Congratulations, Professor Higgins".[5]

text: Dubbing[edit]

text: Hepburn's singing was judged inadequate, and she was dubbed by Marni Nixon,[6] who sang all songs except "Just You Wait", where Hepburn's voice was left undubbed during the harsh-toned chorus of the song and Nixon sang the melodic bridge section. Some of Hepburn's original vocal performances for the film were released in the 1990s, affording audiences an opportunity to judge whether the dubbing was necessary. Less well known is the dubbing of Jeremy Brett's songs (as Freddy) by Bill Shirley.[7]

text: Harrison declined to pre-record his musical numbers for the film, explaining that he had never talked his way through the songs the same way twice and thus could not convincingly lip-sync to a playback during filming (as musical stars had, according to Jack L. Warner, been doing for years. "We even dubbed Rin-Tin-Tin"[8]). George Groves decided to use a wireless microphone, the first such use during filming of a motion picture.[9] The sound department earned an Academy Award for its efforts.

text: Intermission[edit]

text: One of the few differences in structure between the stage version and the film is the placement of the intermission. In the stage play, the intermission comes after the embassy ball where Eliza dances with Karpathy. In the film, the intermission comes before the ball, as Eliza, Higgins, and Pickering are seen departing for the embassy.

text: Art direction[edit]

text: Gene Allen, Cecil Beaton, and George James Hopkins won an Academy Award for Best Production Design for art direction of the film. Beaton's inspiration for the library in Higgins' home, where much of the action takes place, was a room at the Château de Groussay, Montfort-l'Amaury, in France, which had been decorated opulently by its owner Carlos de Beistegui.[citation needed] Hats were created by Parisian milliner Paulette[fr] at Beaton's request.

text: Soundtrack[edit]

text:
Original Columbia Records LP

All tracks played by the Warner Bros. Studio Orchestra conducted by André Previn. Between brackets the singers.

"Overture"
"Why Can't the English Learn to Speak?" (Rex Harrison, Audrey Hepburn, Wilfrid Hyde-White)
"Wouldn't It Be Loverly?" (Marni Nixon (for Hepburn))
"I'm an Ordinary Man" (Harrison)
"With a Little Bit of Luck" (Stanley Holloway)
"Just You Wait" (Hepburn, Nixon)
"The Rain in Spain" (Harrison, Hepburn, Nixon, Wilfrid Hyde-White)
"I Could Have Danced All Night" (Nixon)
"Ascot Gavotte"
"On the Street Where You Live" (Bill Shirley (for Jeremy Brett))
"You Did It" (Harrison, Hyde-White) (without the choir "Congratulations")
"Show Me" (Nixon, Shirley)
"Get Me to the Church on Time" (Holloway)
"A Hymn to Him (Why Can't a Woman Be More Like a Man?)" (Harrison, Hyde-White)
"Without You" (Nixon, Harrison)
"I've Grown Accustomed to Her Face" (Harrison)

Previously unreleased on LP, included on the CD

"The Flower Market"
"Servants' Chorus"
"Ascot Gavotte (Reprise)"
"Intermission"
"The Transylvanian March"
"The Embassy Waltz"
"You Did It" (Harrison, Hyde-White) (with the servant's final choir "Congratulations")
"Just You Wait (Reprise)" (Hepburn and/or Nixon (for Audrey Hepburn))
"On the Street Where You Live (Reprise)" (Shirley)
"The Flowermarket" (containing the reprise of "Wouldn't It Be Loverly?") (Nixon)
"End Titles"
"Exit Music"

tag: table

text: Reception[edit]

text: With a production budget of $17 million, My Fair Lady was the most expensive film shot in the United States up to that time.[10] The film was re-released in 1971 and earned North American rentals of $2 million. It was re-released again in 1994 after a thorough restoration.[11]

text: My Fair Lady currently holds a 96% approval rating on Rotten Tomatoes based on 46 reviews, with an average rating of 8.1/10. The general consensus states: "George Cukor's elegant, colorful adaptation of the beloved stage play is elevated to new heights thanks to winning performances by Audrey Hepburn and Rex Harrison."[12] Chicago Sun-Times critic Roger Ebert gave the film four stars out of four, and, in 2006, he put it on his "Great Movies" list, praising Hepburn's performance, and calling the film "the best and most unlikely of musicals."[13]

text: Awards and honors[edit]

text: Academy Awards: 1964[edit]

text: My Fair Lady won eight Oscars:[3][14]

text:
Academy Award for Best Picture – Jack L. Warner
Academy Award for Directing – George Cukor
Academy Award for Best Actor – Rex Harrison
Academy Award for Best Cinematography – Harry Stradling
Academy Award for Sound – George R. Groves, Warner Brothers Studio
Academy Award for Best Adaptation or Treatment Score – André Previn
Academy Award for Best Art Direction – Gene Allen, Cecil Beaton, and George James Hopkins
Academy Award for Costume Design – Cecil Beaton
Academy Award for Writing Adapted Screenplay – Alan Jay Lerner - Nominated
Academy Award for Film Editing – William Ziegler - Nominated
Academy Award for Best Supporting Actor – Stanley Holloway - Nominated
Academy Award for Best Supporting Actress – Gladys Cooper - Nominated

text: Golden Globe Awards[edit]

text: My Fair Lady won three Golden Globes:

text:
Golden Globe Award for Best Motion Picture – Musical or Comedy
Golden Globe Award for Best Director – Motion Picture – George Cukor
Golden Globe Award for Best Actor – Motion Picture Musical or Comedy – Rex Harrison

text: BAFTA Awards[edit]

text: My Fair Lady won the BAFTA Award for Best Film from any source

text: Restoration[edit]

text: The film was restored in 1994 by James C. Katz and Robert A. Harris, who had restored Spartacus three years earlier. The restoration was commissioned and financed by CBS, to which the film rights reverted from Warner Bros. in 1971.[15] CBS would later hire Harris to lend his expertise to a new 4K restoration of the film for a 2015 Blu-ray release, working from 8K scans of the original camera negative and other surviving 65mm elements.[16]

text: Planned remake[edit]

text: A new film of the musical was planned in 2008 with a screenplay by Emma Thompson but the project did not materialize. Keira Knightley, Carey Mulligan, and Colin Firth were among those in consideration for the lead roles.[17][18][19]


document_title: Harold Koplar

question_text: when was lodge of the four seasons built

text: Harold Koplar

text: Biography[edit]

text: Early life and education[edit]

text: Harold Koplar was born February 27, 1915. His father, Sam Koplar, built the Park Plaza Hotel in 1929.[1] Harold Koplar was raised in St. Louis, Missouri, graduating from Soldan High School before going on to the University of Illinois at Urbana-Champaign, where he studied architecture and engineering but left without graduating.

text: Career[edit]

text: Koplar linked together and managed the Chase Park Plaza Hotel in St. Louis, Missouri. In 1959, he launched the television station KPLR-TV in a converted apartment building near the hotel. He established a development at Lake of the Ozarks in 1964 that includes the Lodge of Four Seasons hotel, two golf courses, a marina, and Spa Shiki. In 1966 he was listed as part-owner of the troubled midtown landmark Continental Life Building, along with St. Louis mayor Alfonso J. Cervantes and nationally known defense attorney Morris Shenker, who was also Koplar's brother-in-law.[2]

text: Marriage and children[edit]

text: Harold and Marie Lauer Koplar married on March 30, 1931. The couple had three children: Robert "Bob" Koplar (d. 1977), Edward J. "Ted" Koplar, and Susan Koplar Brown.

text: Death and afterward[edit]

text: On May 3, 1985, Harold Koplar was found unconscious in an indoor lap pool in his home. He was rushed to the hospital and declared dead of a massive heart attack. Funeral services were held at Temple Emanuel in St. Louis and he was interred in the Koplar family mausoleum at New Mount Sinai Cemetery, Affton, Missouri.


question_text: what songs are in 2002 song anne marie

question_tokens: what songs are in 2002 song anne marie

text: 2002 (song)

text: Background[edit]

text: "2002" is a love ballad about a childhood romance of Anne-Marie's that took place in the titular year.[3] She wrote the song with Ed Sheeran, Benny Blanco, Julia Michaels and Steve Mac.[4] She was not initially planning to release "2002" as a single, but finally caved in after constant pestering from Sheeran on Instagram to bring it out.[5]

text: The beginning of the song's chorus, "Oops, I got 99 problems singing 'bye, bye, bye' / Hold up, if you wanna go and take a ride wit me / Better hit me, baby, one more time", references six popular songs from the late 1990s/early 2000s: "...Baby One More Time", "99 Problems", "Bye Bye Bye", "The Next Episode", "Ride wit Me" and "Oops!... I Did It Again".[6] In an interview with Polish music magazine luvPOP, Anne-Marie explained the song: "It is all about that year, when I was that age just listening to that music that I loved at that time. You know, Christina Aguilera, Missy Elliott. All of these songs...Yeah, it just takes me back to that time."[7]

text: Music video[edit]

text: The official music video was directed by Hannah Lux Davis, who also directed the video for Anne-Marie's previous single "Friends".[8] It was filmed, according to Anne-Marie, "somewhere in London"[9] and was uploaded to YouTube on 8 May 2018.[10] It features Anne-Marie recreating the videos of the songs referenced in the chorus.[4]

text: Charts[edit]

text:
Chart (2018)

Peak position

Australia (ARIA)[11]

4

Austria (Ö3 Austria Top 40)[12]

50

Belgium (Ultratop 50 Flanders)[13]

49

Canada (Canadian Hot 100)[14]

55

Croatia Airplay (HRT)[15]

87

Czech Republic (Singles Digitál Top 100)[16]

25

Denmark (Tracklisten)[17]

37

Germany (Official German Charts)[18]

58

Greece International Digital (IFPI Greece)[19]

41

Hungary (Stream Top 40)[20]

20

Ireland (IRMA)[21]

2

Latvia (Latvijas Top 40)[22]

27

Lebanon (Lebanese Top 20)[23]

18

Malaysia (RIM)[24]

18

Netherlands (Single Top 100)[25]

48

New Zealand (Recorded Music NZ)[26]

13

Norway (VG-lista)[27]

24

Portugal (AFP)[28]

59

Scotland (Official Charts Company)[29]

3

Slovakia (Singles Digitál Top 100)[30]

24

Singapore (RIAS)[31]

5

South Korea International (Gaon)[32]

66

Sweden (Sverigetopplistan)[33]

58

Switzerland (Schweizer Hitparade)[34]

45

UK Singles (Official Charts Company)[35]

3

US Bubbling Under Hot 100 Singles (Billboard)[36]

21

text: Certifications[edit]

text:
Region

Certification
Certified units/Sales

Australia (ARIA)[37]

Platinum

70,000^

New Zealand (RMNZ)[38]

Gold

15,000*

United Kingdom (BPI)[39]

Gold

400,000

*sales figures based on certification alone^shipments figures based on certification alonesales+streaming figures based on certification alone


document_title: Country Music Hall of Fame and Museum

question_text: when was the country music hall of fame built

text: Country Music Hall of Fame and Museum

text: History of the museum[edit]

text: The Country Music Hall of Fame and Museum is one of the world's largest and most active popular music research centers and the world's largest repository of country music artifacts. Early in the 1960s, as the Country Music Association's campaign to publicize country music was accelerating, CMA leaders determined that a new organization was needed to operate a country music museum and to carry out research and education activities beyond CMA's scope as a trade organization. Toward this end, the nonprofit Country Music Foundation (CMF) was chartered by the state of Tennessee in 1964 to collect, preserve, and publicize information and artifacts relating to the history of country music. Through CMF, industry leaders raised money to build the Country Music Hall of Fame and Museum, which opened on April 1, 1967. Located at the head of Music Row, the museum was erected on the site of a small Nashville city park. At this point, artifacts began to be displayed and a small library was begun in a loft above one of the museum's galleries.[1]

text: Early in the 1970s the basement of the museum building was partially complete, and library expansion began, embracing not only recordings but also books and periodicals, sheet music and songbooks, photographs, business documents, and other materials. At the outset, CMA staff had run the museum, but by 1972 the museum (already governed by its own independent board of directors) acquired its own small staff, which has steadily increased to over 150 full-time professionals.

text: Building expansion took place in 1974, 1977, and 1984 to store and display the museum's growing collection of costumes, films, historic cars, musical instruments, and other artifacts. An education department was created to conduct ongoing programs with Middle Tennessee schools, an oral history program was begun, and a publications department was launched to handle books, as well as the Journal of Country Music.[2]

text: Current museum[edit]

text: To become more accessible, in May 2001 the Country Music Hall of Fame and Museum moved to a new, 130,000-square-foot (12,000 m2) facility in the heart of downtown Nashville's arts and entertainment district. In 2014, the museum unveiled a $100 million expansion, doubling its size to 350,000 square feet of galleries, archival storage, education classrooms, retail stores, and special event space.

text: In the museum's core exhibition, Sing Me Back Home: A Journey Through Country Music, visitors are immersed in the history and sounds of country music, its origins and traditions, and the stories and voices of many of its architects. The story is revealed through artifacts, photographs, and text panels, recorded sound, vintage video, and interactive touchscreens. Sing Me Back Home is enhanced by numerous, rotating limited-engagement exhibits. The new ACM Gallery and the Dinah and Fred Gretsch Family Gallery offer visitors a hands-on immersion into today's country music with artifacts from today's country stars and a series of technology-enhanced activities.

text: In addition to the galleries, the museum has the 776-seat CMA Theater, the Taylor Swift Education Center, and multi-purpose event rental spaces. Other historic properties of the Country Music Hall of Fame and Museum include the letterpress operation Hatch Show Print (located inside the museum) and Historic RCA Studio B[3] (located on Music Row), Nashville's oldest surviving recording studio, where recordings by Elvis Presley, Dolly Parton, Waylon Jennings, and many others were made.

text: The Country Music Hall of Fame and Museum has developed multiple platforms to make its collection accessible to a wider audience. From weekly instrument demonstrations to its flagship songwriting program for schools, Words & Music, the museum offers an aggressive schedule of educational programs. The museum also operates CMF Records, a Grammy-winning re-issue label (The Complete Hank Williams and Night Train to Nashville: Music City Rhythm & Blues, 1945-1970); and CMF Press, a book publishing arm that releases exhibit-related books in cooperation with Vanderbilt University Press and other major trade publishing houses.

text: The Country Music Hall of Fame[edit]

text: Membership in the Country Music Hall of Fame, the highest honor a country music professional can receive, is extended to performers, songwriters, broadcasters, musicians, and executives in recognition of their contributions to the development of country music. The Country Music Hall of Fame honor was created in 1961 by the Country Music Association (CMA); the first inductees were Hank Williams, Jimmie Rodgers, and Fred Rose. Roy Acuff, the first living artist to join the Hall of Fame, was elected in 1962. The most recent inductees (class of 2017) are Jerry Reed, Don Schlitz and Alan Jackson.

text: Over the Hall of Fame's history, the number of new members inducted each year has varied from one to twelve (no nominee was inducted in 1963, no candidate having received sufficient votes). The election procedure is as follows: A small CMA nominating committee drafts slates of candidates from each category; categories have been defined variously over the years. Award recipients are determined through a two-stage balloting process; the first round of voting narrows each category to five candidates; the second round selects winners. The large select committee of electors that votes on Hall of Fame membership is composed of CMA members who have participated in the country music industry for at least ten years. New Hall of Fame members receive special recognition in ceremonies at the Country Music Hall of Fame and Museum.

text: Bas-relief portraits cast in bronze honoring each Hall of Fame member were originally displayed at the Tennessee State Museum in downtown Nashville until the Country Music Hall of Fame and Museum opened its own building in April 1967; in this barn-roofed facility at the head of Music Row, the bronze plaques comprised a special exhibit. Today the plaques are displayed in a seventy-foot-high rotunda at the museum's enlarged downtown Nashville facility.

text: The Museum collection[edit]

text: The museum's archival and library storage, allows for the cultivation of the museum's collection and includes more than 2.5 million artifacts.

text:
Nearly 200,000 sound recordings, including an estimated 98% of all pre-World War II country recordings released commercially
Approximately 500,000 photographs
More than 30,000 moving images on film, video and digital formats, including Glen Campbell narrating the history of country music; rare documentary footage of a father and son buck-dancing at the 1932 Old-time Fiddlers' Convention in Star, North Carolina; and archival footage featuring Hall of Fame members the Jordanaires, the Louvin Brothers, Patsy Montana, Webb Pierce, Marty Robbins, Jimmie Rodgers, and Carl Smith.
Hundreds of historic musical instruments, featuring Mother Maybelle Carter's Gibson L-5, Earl Scruggs's banjo, Bob Wills's fiddle, and Bill Monroe's mandolin.
Thousands of items of clothing worn by country artists, including Hank Snow's "Golden Rocket" Nudie suit, Jim Reeves's tuxedo jacket, Gram Parsons's Nudie suit, Patsy Cline's cocktail dress, Hank Williams's Nudie suit, Johnny Cash's black suit from The Johnny Cash Show, and the dress Carrie Underwood wore when she won American Idol.
Oral histories, scrapbooks, correspondence, fan club newsletters, sheet music, periodicals and books.
Iconic Vehicles: Elvis Presley's 1960 "Solid Gold" Cadillac limousine, Webb Pierce's 1962 Pontiac Bonneville convertible, and Jerry Reed's 1980 Pontiac Trans Am from Smokey and the Bandit II.

text: Architecture and design[edit]

text: When viewed from the air, the building forms a massive bass clef. The point on the sweeping arch of the building suggests the tailfin of a 1959 Cadillac sedan. The building's front windows resemble piano keys. The tower on top of the Rotunda that extends down the Hall of Fame is a replica of the distinctive diamond-shaped WSM radio tower, which was originally built in 1932 just south of Nashville and is still in operation.

text: The Rotunda itself is replete with symbolic architectural elements. For example, the exterior of this cylindrical structure can be viewed variously as a drum kit, a rural water tower, or grain silo. The four disc tiers of the Rotunda's roof evoke the evolution of recording technology—the 78, the vinyl LP, the 45, and the CD. Stone bars on the Rotunda's outside wall symbolize the notes of the Carter Family's classic song "Will the Circle Be Unbroken," while the title of the song rings the interior of the structure. The Hall of Fame member's plaques housed within the Rotunda are reminiscent of notes on a musical staff.

text: Solid, earthy materials native to the Mid-South—wood, concrete, steel, and stone—were used in the building's construction as a reminder of the music's strong roots in the lives of working Americans. Georgia yellow pine adorns the floors of the Conservatory and is also found in the Hall of Fame Rotunda the Ford Theater. Crab Orchard Stone from the East Tennessee mountains lend a homey, rustic touch to the Conservatory's "front porch" atmosphere and is also found on the Rotunda's walls. The large steel beams supporting the Conservatory's glass ceiling and walls conjure up images of rural railroad bridges. In another transportation metaphor, the cascading water along the Grand Staircase calls to mind the mighty rivers that have inspired so much of our nation's music and have physically connected musicians in various regions of the nations.

text: Musical symbolism continues within the museum galleries. Hardwood floors, curtain-like exhibit-case fronts, and low hanging lights suspended by cables create the backstage atmosphere of the Third Floor. Similarly, modular exhibit stations and vinyl floors evoke a recording studio environment on the Second Floor.

text: Architect: Tuck-Hinton Architects, PLC

text: Exhibit Designer: Ralph Appelbaum Associates Inc.

text: Timeline[edit]

text:
1961: Country Music Association established the Country Music Hall of Fame
1964: CMA chartered the not-for-profit Country Music Foundation (CMF), which operates the Country Music Hall of Fame and Museum
1967: Country Music Hall of Fame and Museum opened on Music Row
1987: Museum earned accreditation from the American Alliance of Museums
2000: December 31, museum closed its doors on Music Row
2001: May 17, museum opened in downtown Nashville
2013: October 12, Hatch Show Print opened to the public
2014: New expansion opened, more than doubling the size of the building
2015: For the first time, the museum had more than one million visitors in a calendar year

text: Senior leadership[edit]

text:
Kyle Young, CEO
Sharon Brawner, Senior Vice President of Marketing and Sales[4]
Carolyn Tate, Senior Vice President of Museum Services
Nina Burghard, Senior Vice President of Financial Services and Operations
Lisa Purcell, Vice President of Development