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On February 28, 1982, the J. Paul Getty Museum becomes the most richly endowed museum on earth when it receives a $1.2 billion bequest left to it by the late J. Paul Getty. The American oil billionaire died in 1976, but legal wrangling over his fortune by his children and ex-wives kept his will in probate until 1982. During those six years, what was a originally a $700 million bequest to the museum nearly doubled. By 2000, the endowment was worth $5 billion–even after the trust spent nearly $1 billion in the 1990s on the construction of a massive museum and arts education complex in Los Angeles.

Jean Paul Getty, born in Minneapolis in 1892, built his fortune through the accumulation of oil companies. He began collecting artworks in the 1930s, preferring Renaissance and Baroque paintings and French furniture, and displaying them in his ranch house in Malibu, California. In 1954, he formally opened the J. Paul Getty Museum, which occupied a specially built wing of his Malibu home. Later, his collection outgrew the ranch, so Getty built a new museum in Malibu. The new Getty Museum was modeled after Villa dei Papiri, a Roman villa uncovered in the town of Herculaneum, which was buried by the eruption of Mount Vesuvius in 79 A.D. It was completed in 1974, but Getty, who lived mostly in England after World War II, died before he could return to Malibu to see it in person. His coffin was sent back to California, and he was buried near his museum on a bluff overlooking the Pacific Ocean.

In leaving a third of his fortune to the J. Paul Getty Museum, his only stipulation was that the fortune be used “for the diffusion of artistic and general knowledge.” This gave the museum extraordinary freedom–an unusual legacy from a man who in his life had sought absolute control over his affairs. The laws governing trusts, however, indicate that the museum must spend 4.25 percent of its endowment three out of every four years in order to retain its tax-exempt status. In the first year after its endowment, that figure equaled $54 million; today the amount the museum must spend three out of four years is more than $200 million. The J. Paul Getty Museum’s greatest challenge, therefore, is finding enough art and culture to buy–but not too much that other museums accuse the Getty of hoarding the world’s masterpieces.

The museum spent a good chunk of its endowment in the construction of the Getty Center, a six-building complex set on a hilltop in the Brentwood section of Los Angeles. The $1 billion complex opened in December 1997. Fourteen years in the making, the Getty Center includes a large museum, a research institute and library, an art conservation institute, a digital information institute, an arts education institute, a museum management school, and a grant program center. The buildings were designed in a modernist style by American architect Richard Meier.

READ MORE: J. Paul Getty - Spouse, Grandchildren & Museum


In 1974, J. Paul Getty opened a museum in a re-creation of the Villa of the Papyri at Herculaneum on his property in Malibu, California. [5] In 1982, the museum became the richest in the world when it inherited US$1.2 billion. [6] In 1983, after an economic downturn in what was then West Germany, the Getty Museum acquired 144 illuminated medieval manuscripts from the financially struggling Ludwig Collection in Aachen John Russell, writing in The New York Times, said of the collection, "One of the finest holdings of its kind ever assembled, it is quite certainly the most important that was in private hands." [7] In 1997, the museum moved to its current location in the Brentwood neighborhood of Los Angeles the Malibu museum, renamed the "Getty Villa", was renovated and reopened in 2006.

A suite of interactive multimedia tools called GettyGuide allows visitors to access information about exhibitions. Within the Museum, the GettyGuide multimedia player provides commentary from curators and conservators on many works of art.

In the 1970s and 1980s, the curator, Jiří Frel, designed a tax manipulation scheme which expanded the museum collection of antiquities, essentially buying artifacts of dubious provenance, as well as a number of artifacts generally considered fakes, such as the Getty kouros. In 1984, Frel was demoted, and in 1986, he resigned. [10]

The Getty is involved in a controversy regarding proper title to some of the artwork in its collection. The museum's previous curator of antiquities, Marion True (hired by Frel), was indicted in Italy in 2005 (along with famed dealer Robert E. Hecht) on criminal charges relating to trafficking in stolen antiquities. Similar charges have been addressed by the Greek authorities. The primary evidence in the case came from the 1995 raid of a Geneva, Switzerland, warehouse which had contained a fortune in stolen artifacts. Italian art dealer Giacomo Medici was arrested in 1997 his operation was thought to be "one of the largest and most sophisticated antiquities networks in the world, responsible for illegally digging up and spiriting away thousands of top-drawer pieces and passing them on to the most elite end of the international art market". [11] In 2005 True was forced to tender her resignation by the Board of Trustees, which announced her early retirement. Italy allowed the statute of limitations of the charges filed against her to expire in October 2010. [12]

In a letter to the J. Paul Getty Trust on December 18, 2006, True stated that she was being made to "carry the burden" for practices which were known, approved, and condoned by the Getty's Board of Directors. [13] True is currently under investigation by Greek authorities over the acquisition of a 2,500-year-old funerary wreath, that was illegally excavated and smuggled outside of the country. The wreath, along with a 6th-century BC statue of a kore, have been returned to Greece and are currently exhibited at the Archaeological Museum of Thessaloniki. [14] Additionally, a 2,400-year-old, black limestone stele and a marble votive relief dating from about 490 BC were also returned.

On November 20, 2006, the director of the museum, Michael Brand, announced that 26 disputed pieces were to be returned to Italy, but not the Victorious Youth, which is still claimed by the Italian authorities. In 2007, the Los Angeles J. Paul Getty Museum was forced to return 40 artifacts, including a 5th-century BC statue of the goddess Aphrodite, which was looted from Morgantina, an ancient Greek settlement in Sicily. [15] The Getty Museum resisted the requests of the Italian government for nearly two decades, only to admit later that "there might be 'problems'" attached to the acquisition." [16] In 2006, Italian senior cultural official Giuseppe Proietti said: "The negotiations haven't made a single step forward." Only after he suggested the Italian government "to take cultural sanctions against the Getty, suspending all cultural cooperation," [17] did the J. Paul Getty Museum return the antiquities.

In another unrelated case in 1999, the Getty Museum had to hand over three antiquities to Italy after determining they were stolen. The objects included a Greek red-figure kylix from the 5th-century BC, signed by the painter Onesimos and the potter Euphronios as potter, looted from the Etruscan site of Cerveteri a torso of the god Mithra from the 2nd-century AD, and the head of a youth by the Greek sculptor Polykleitos. [18]

In 2016, the terracotta head of the Greek god Hades was returned to Sicily (Italy). The archaeological artifact was looted from Morgantina in the 1970s. The Getty museum purchased the terracotta head of Hades in 1985 from the New York collector Maurice Tempelsman, who had purchased it from the London dealer Robin Symes. Getty records show the museum paid $530,000 for it. [19] [20] On December 21, 2016, the head of Hades was added to the collection of the archaeological museum of Aidone, where it joined the statue of Demeter, the mother of his consort Persephone. Sicilian archaeologists found a blue curl that was missing from Hades' beard, and so it proved the origin of the terracotta head. [ citation needed ]

Many museums turned to their existing social media presences to engage their audience online during the COVID-19 pandemic. Inspired by the Rijksmuseum in Amsterdam and Instagram accounts such as the Dutch Tussen Kunst & Quarantaine (“between art and quarantine”) and Covid Classics, the Getty sponsored the Getty Museum Challenge, inviting people to use everyday objects to recreate works of art and share their creations on social media, prompting thousands of submissions. [21] [22] The museum was among those singled out for particular praise by industry analysts for their successful social media content strategy during the shutdown, both for the challenge [23] [24] and for incorporating its works into the popular video game Animal Crossing. [25]


Contents

Originally, the Getty Museum started in J. Paul Getty's house located in Pacific Palisades in 1954. He expanded the house with a museum wing. In the 1970s, Getty built a replica of an Italian villa on his home's land to better house his collection, which opened in 1974. After Getty's death in 1976, the entire property was turned over to the Getty Trust for museum purposes. However, the collection outgrew the site, which has since been renamed the Getty Villa, and management sought a location more accessible to Los Angeles. The purchase of the land upon which the center is located, a campus of 24 acres (9.7 ha) on a 110-acre (45 ha) site in the Santa Monica Mountains above Interstate 405, surrounded by 600 acres (240 ha) kept in a natural state, was announced in 1983. The top of the hill is 900 feet (270 m) above sea level, high enough that on a clear day it is possible to see not only the Los Angeles skyline but also the San Bernardino Mountains, and San Gabriel Mountains to the east as well as the Pacific Ocean to the west. [6] [7]

The price tag of the center totaled $733 million which includes $449 million for construction, $115 million for the land and site work, $30 million for fixtures and equipment, and $139 million for insurance, engineers' and architects' fees, permits and safety measures, according to Stephen D. Rountree, former director of the Getty's building program and director of operations and planning for the trust. [ citation needed ]

Current appraisal for the property fluctuates with the market, but in June 2013 the land and buildings were estimated at $3.853 billion (art not included). [ citation needed ]

In 1984, Richard Meier was chosen to be the architect of the center. [8] After an extensive conditional-use permit process, [9] construction by the Hathaway Dinwiddie Construction Company [10] began in August 1989. [11] The construction was significantly delayed, with the planned completion date moved from 1988 to 1995 (as of 1990). [12] By 1995, however, the campus was described as only "more than halfway complete". [9]

The center ultimately opened to the public on December 16, 1997. [2] [13] Although the total project cost was estimated to be $350 million as of 1990, [12] it was later estimated to be $1.3 billion. [14] After the center opened, the villa closed for extensive renovations and reopened on January 28, 2006, to focus on the arts and cultures of ancient Greece, Rome, and Etruria. [15] Currently, the museum displays collections at both the Getty Center and the Getty Villa in Pacific Palisades.

In 2005, after a series of articles in the Los Angeles Times about the spending practices of the Getty Trust and its then-president Dr. Barry Munitz, the California Attorney General conducted an investigation of the Getty Trust and found that no laws had been broken. The trust agreed to appoint an outside monitor to review future expenditures. [16] The Getty Trust experienced financial difficulties in 2008 and 2009 and cut 205 of 1,487 budgeted staff positions to reduce expenses. [17] [18] Although the Getty Trust endowment reached $6.4 billion in 2007, it dropped to $4.5 billion in 2009. [19] The endowment rebounded to $6.2 billion by 2013. [20]

The centre was indefinitely shut down in mid-March 2020 to visitors.

Meier has exploited the two naturally-occurring ridges (which diverge at a 22.5 degree angle) by overlaying two grids along these axes. These grids serve to define the space of the campus while dividing the import of the buildings on it. Along one axis lie the galleries and along the other axis lie the administrative buildings. Meier emphasized the two competing grids by constructing strong view lines through the campus. The main north-south axis starts with the helipad, then includes a narrow walkway between the auditorium and north buildings, continues past the elevator kiosk to the tram station, through the rotunda, past the walls and support columns of the exhibitions pavilion, and finally the ramp besides the west pavilion and the central garden. Its corresponding east-west visual axis starts with the edge of the scholar's wing of the Getty Research Institute (GRI), the walkway between the central garden and the GRI, the overlook to the azalea pool in the central garden, the walkway between the central garden and the west pavilion, and finally the north wall of the west pavilion and the courtyard between the south and east pavilions.

The main axes of the museum grid that is offset by 22.5 degrees begins with the arrival plaza, carries through the edge of the stairs up to the main entrance, aligns with the columns supporting the rotunda as well as the center point of the rotunda, aligns with travertine benches in the courtyard between the pavilions, includes a narrow walkway between the west and south pavilions, a staircase down to the cactus garden and ends in the garden. The corresponding cross axis starts with the center point of the circle forming the GRI library garden, then passing to the center of the entrance rotunda, and aligning with the south wall of the rotunda building. Although all of the Museum is aligned on these alternative axes, portions of the exhibitions pavilion and the east pavilion are aligned on the true north-south axis as a reminder that both grids are present in the campus. [21] [22]

The primary grid structure is a 30-inch (760 mm) square most wall and floor elements are 30-inch (760 mm) squares or some derivative thereof. The buildings at the Getty Center are made from concrete and steel with either travertine or aluminium cladding. [23] Around 1,200,000 square feet (110,000 m 2 ) of travertine was used to build the Center. [23]

Throughout the campus, numerous fountains provide white noise as a background. The initial design has remained intact however benches and fences have been installed around the plaza fountains to discourage visitors from wading into the pools. Some additional revisions have been made in deference to the Americans with Disabilities Act.

The north promontory is anchored by a circular grass area, which serves as a heliport in case of emergencies, and the south promontory is anchored by a succulent plant and cactus garden. The complex is also encircled by access roads that lead to loading docks and staff parking garages on both the west and east sides of the buildings. The hillside around the complex has been planted with California Live Oak (Quercus agrifolia) trees.

The Museum has a seven-story deep underground parking garage with over 1,200 parking spaces. Its roof has an outdoor sculpture garden. [24] An automated three-car, cable-pulled hovertrain people mover, the "Getty Center Tram", takes passengers between the parking garage at the bottom of the hill and the Museum at the top of the hill. [3]

Visitors typically arrive at a tram station in the arrival plaza located between the administrative buildings and the Museum entrance. A large set of steps leads to the main doors of the rotunda building. The rotunda building houses information desks, two orientation theatres and Museum shops. It also holds a grand staircase that starts a path toward the paintings located on the second floor of each art pavilion. The rotunda opens to the south to a terrace that links all five of the Museum pavilions. A separate building to the west of the arrival plaza and stairs holds a cafeteria and restaurant. Next to the restaurant is a stone arch, which separates the Museum from the GRI. Stairs from the terrace connecting the GRI and the restaurant lead down to the central garden.

The Getty Center also has a 7-story underground parking garage for visitors use as they visit the Center. Parking is $20 per vehicle or $15 after 3pm. [25]

The J. Paul Getty Museum's estimated 1.8 million visitors annually make it one of the most visited museums in the United States. [26] The collection of the J. Paul Getty Museum on display at the Getty Center includes "pre-20th-century European paintings, drawings, illuminated manuscripts, sculpture, and decorative arts and 19th- and 20th-century American and European photographs". [27] The paintings include:

  • Arii Matamoe (The Royal End) by Paul Gauguin (1892). The Museum's director, Michael Brand, stated that the purchase of the painting was "one of the key moments in the history of our collection." [28] The literal translation of the Tahitian words of the title are "noble" and "sleeping eyes", which implies "death". [29]
  • Irises by Vincent van Gogh (1889). The Museum purchased the painting in 1990 it had sold for $53.9 million in 1987. [30]
  • Portrait of a Halberdier by Pontormo (1528–1530). [31] When the Museum bought the painting for $35.2 million at an auction in 1989, "the price more than tripled the previous record at auction for an Old Master painting". [32]
  • A copy of Portrait of Louis XIV, which measures 114 x 62-5/8 inches, by the workshop of Hyacinthe Rigaud (after 1701). [33]

Getty's extensive photograph collection is located on the lower level of the west pavilion. [34]

The Museum building consists of a three-level base building that is closed to the public and provides staff workspace and storage areas. Five public, two-story towers on the base are called the North, East, South, West and the Exhibitions Pavilions. The Exhibitions Pavilion acts as the temporary residence for traveling art collections and the Foundation's artwork for which the permanent pavilions have no room. The permanent collection is displayed throughout the other four pavilions chronologically: the north houses the oldest art while the west houses the newest. [35] The first-floor galleries in each pavilion house light-sensitive art, such as illuminated manuscripts, furniture, or photography. Computer-controlled skylights on the second-floor galleries allow paintings to be displayed in natural light. The second floors are connected by a series of glass-enclosed bridges and open terraces, both of which offer views of the surrounding hillsides and central plaza. Sculpture is also on display at various points outside the buildings, including on various terraces and balconies. The lower level (the highest of the floors in the base) includes a public cafeteria, the terrace cafe, and the photography galleries. [36]

The 134,000-square-foot (12,400 m 2 ) Central Garden at the Getty Center is the work of artist Robert Irwin. [37] Planning for the garden began in 1992, construction started in 1996, and the garden was completed in December 1997. [38]

Irwin was quoted as saying that the Central Garden "is a sculpture in the form of a garden, which aims to be art." [39] Water plays a major role in the garden. A fountain near the restaurant flows toward the garden and appears to fall into a grotto on the north garden wall. The resulting stream then flows down the hillside into the azalea pool. The designers placed rocks and boulders of varying size in the stream bed to vary the sounds from the flowing water. A tree-lined stream descends to a plaza, while the walkway criss-crosses the stream, which continues through the plaza, and goes over a stone waterfall into a round pool. [37] A maze of azaleas floats in the pool, around which is a series of specialty gardens. [37] More than 500 varieties of plant material are used for the Central Garden, but the selection is "always changing, never twice the same". [37]

After the original design, an outdoor sculpture garden, called the "Lower Terrace Garden" was added in 2007 on the west side of the central garden just below the scholar's wing of the GRI building. [24] [40]

The Getty Research Institute (GRI) is "dedicated to furthering knowledge and advancing understanding of the visual arts." [41] Among other holdings, GRI's research library contains over 900,000 volumes of books, periodicals, and auction catalogs special collections and two million photographs of art and architecture. [42] GRI's other activities include exhibitions, publications, and a residential scholars program. [41] At the Getty Center, GRI is located to the west of the Museum. [23] The round building encircles a landscaped garden and is located to the west of the central garden. The main entrance of GRI is connected by a terrace to the main arrival court of the Museum, with outdoor sculptures placed along the route. [24] GRI has one art gallery on its entrance level that is open to the public.

Meier also designed three other buildings located next to the north promontory and offset at a 22.5 degree angle from the main axis of the Museum pavilions. The north-most building is an auditorium. Next to it is the North Building, with the East Building sitting between the North Building and the rotunda. The main entrance to the East Building is flanked by two round silos that hold its elevators. A bridge over a sunken courtyard links the main entrance of the East Building to the main walkway that connects the auditorium and North Buildings to the rotunda. These buildings house the Getty Conservation Institute (GCI), the J. Paul Getty Trust and the Getty Foundation. These buildings are generally closed to the public except for special events held in the auditorium. [23] They are linked to the Museum both by landscaped terraces and by an enclosed glass walkway that leads from the main rotunda.

GCI, which is headquartered at the Getty Center but also has facilities at the Getty Villa, commenced operation in 1985. [43] It "serves the conservation community through scientific research, education and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field" and "adheres to the principles that guide the work of the Getty Trust: service, philanthropy, teaching, and access". [43] GCI has activities in both art conservation and architectural conservation. [44]

The Getty Foundation awards grants for "the understanding and preservation of the visual arts". [45] In addition, it runs the Getty Leadership Institute for "current and future museum leaders". [46] Its offices are north of the Museum. [23] The foundation offices are located in the two administrative buildings that are north of the Museum. The J. Paul Getty Trust, which oversees the Getty Conservation Institute, Getty Foundation, Getty Research Institute, and J. Paul Getty Museum, also has offices there. [23]

Earthquakes Edit

Although the Center's site was thought to have little motion during earthquakes, which are frequent in the Los Angeles area, in 1994, as the Center was being constructed, the Northridge earthquake struck. [47] It caused "disturbing hairline cracks. in the welds and plated joints of the steel framework." [48] As a result, the steelwork through the site was retrofitted. [48] The Center's buildings are thought to be able to survive an earthquake of 7.5 magnitude on the Richter scale. [47]

Fires Edit

In the 16 electrical transformers at the Center, silicone fluid is used as a coolant "with less risk of ignition" than hydrocarbon coolant. [49] The native flammable chaparral was removed and fire-resistant poverty weed was added to the slopes around the Center. [48] Each year, a herd of goats is rented to clear brush on the surrounding hills. [50]

At the north end of the Center, a tank with 1,000,000 US gal (3,800,000 l) of water, together with a grass-covered helipad, allow helicopters to collect water. [51] [52] The access ramp from the entry plaza to the Museum was constructed to allow a fire truck to pass over it. [48] Inside the Museum, the sprinkler system is designed to balance "between the potential damage of a fire and the risk of water damage to valuable artwork". [53]


Did the kidnappers really cut off their hostage’s ear?

The kidnappers got to work trying to force the family’s hand, as the story generated increasing publicity. One example not depicted in the movie: the Playboy-esque magazine Playmen paid $1,000 to publish nude photos of the red-haired, freckled-face boy, which had been taken before he disappeared.

As the Dec. 24, 1973, issue of TIME reported, “early in November, an envelope was delivered to the Rome daily Il Messaggero. It contained a lock of reddish hair and a severed human ear. ‘This is Paul’s first ear,’ read a typewritten note. ‘If within ten days the family still believes that this is a joke mounted by him, then the other ear will arrive. In other words, he will arrive in little bits.'”

Meanwhile, the young Getty’s mother had told her son’s kidnappers that she would look into negotiating a price, and (via a police-wiretapped a phone call) they eventually settled on $2,890,000.

The ear delivery was apparently the straw that broke the camel’s back for the boy’s grandfather &mdash sort of. According to the New York Times&rsquo review of John Pearson’s book on which the film is based, “He would pay the $2.2 million of the ransom that his accountants said was tax-deductible as a casualty loss under the tax code of the day, which limited such write-offs to 10 percent of one’s taxable income the boy’s father would have to cover the rest, which he did by borrowing from his father at 4 percent interest.” The movie depicts a meeting between the elder Getty, his drug-addled son, Gail and a group of lawyers, in which Gail is incredulous at her father-in-law’s willingness to turn a life-or-death matter into a discussion about tax deductions.


Symon Sez

On This Date In History: On this date in 1844, President John Tyler almost bought the farm. He was cruising on the USS Princeton the Navy’s newest and best warship that featured a 27 inch cannon. Trouble was, the cannon hadn’t been tested. Nevermind, the bigshots in Tyler’s cabinet wanted that sucker fired! So they fired it twice and it worked. The designer of the gun begged them not to tempt fate a third time to no avail. They fired it a third time and it exploded, killing a bunch of people. Now, Tyler had a wife when he took over for William Henry Harrison, whom had died after just several weeks in office. Tyler had 8 kids with the wife. No wonder she died. So, the then single President had taken a fancy to a 20 year old named Julia whom Tyler had asked to marry but she hadn’t answered. When the gun blew up, it killed her father. I don’t know if she wanted a new father or if it was a sign or what, but she then accepted Tyler’s proposal and she promptly delivered for Tyler, another 7 kids. Our most pro-creationist President went on to retire to his home in Virginia which had previously been owned by his former boss, President William Henry Harrison! Today, the home is still owned and lived in by the Tyler family. As of this writing one of Tyler’s grandsons is still alive. Snow White and I visited the home, Sherwood Forest, several years ago and the only other people there were a nice, attractive couple. The young lady turned to me and said, “aren’t you the weatherman in Louisville?” Small world.

On this Date in 1960, Richard Petty won his first Grand National race. It was 50 years ago today and it was the first of 200 NASCAR victories. Eight months earlier, Richard Petty had been declared the winner of the race but he lost after the guy who came in second protested the finish successfully. So his first victory was snatched from him by….Lee Petty…his father! Talk about tough love…While his team hasn’t done well without him at the wheel, he is still deeply involved in NASCAR and his record of victories is one of those standards in sport that is held in a lofty status, like DiMaggio’s 56 game hitting streak or Gretzky’s 894 career goals. It’s very unlikely anyone will ever amass 200 career victories, but they certainly will try.

On this date in 1982, the J. Paul Getty Museum was endowed. Getty had made a fortune in the oil business and he had developed a love of art so he left a third of his fortune to the museum when he died in 1976. At that time, J. Paul Getty was estimated to be worth about $700 million and was one of the richest men in the world. By the time the courts got done with all of the legal wrangling involved in big estate cases, the economy was booming and the endowment grew to $1.2 billion. By 2000, the endowment had grown to $5 billion. Three of every 4 years, the law says that the trust must spend 4.25% in order to maintain tax-exempt status. The first year that was $54 million. Today it’s more like $200 million! The trust has a hard time finding places to spend it. They don’t want to look like they are greedily hoarding all of the world’s art but they have to spend it somewhere. Such problems. Steve Burgin thinks they should give it to him since so many people consider him a national treasure.

Weather Bottom Line: I told you that I was skeptical. The low clouds did not get worked on enough from the sun to create some breaks so we didn’t get to 40. The extreme western parts of the area did get some sun and moved to the low 40’s. I’m not too enthused about the clouds breaking in the next 5 days so 40 may be a dream. Could be sorta kinda on Monday we may get some cloud breaks to get toward 40 but after that, I don’t think we get to that magic number until Friday or Saturday. At that point, it appears that there will be a pretty decent pattern change for awhile and we get some milder days. Remember, the average high this time of year is 51 so getting to average will be quite an accomplishment. Light, mainly insignificant snow showers are possible late Tuesday into Wednesday. Shouldn’t be a big deal.

Flip Flop Weather and 3 Kings February 28, 2008

What in the world can John Tyler, J. Paul Getty and Richard Petty have in common? They are part of this date in History. But the weather may prove even more interesting than the subject of today’s tale.

First off, Thursday’s sunshine will turn to rain for at least part of Friday. Saturday we’re dry but a little cool…somewhere in the neighborhood of the mid 40’s. That’s not bad considering what we’ve had. Hold on to your pacemakers though because Sunday looks great. Strong southerly winds blow in temperatures in the upper 50’s or maybe even low 60’s. Take advantage of the weekend while you can. We haven’t had back to back days like that in a while. This is where we may flip or flop. A cold front comes through bringing rain and chilling us a bit. Now, there is general agreement that cyclogenesis will occur on the bottom of the front near the gulf coast. What is that? It’s not unusual. The wind patter works with the differing temperatures on land and at sea to form an area of low pressure. Cyclo..as in cyclone or low pressure…and genesis..the beginning. So, the low will probably form. Question is where does it go? Some data suggests it goes across the SE to the East coast. That is typical. But other data suggests it runs generally up the Mississippi River Valley into our neck of the woods. Now, the latter scenario is what has been happening all winter. Should that happen, we get wet. If it’s cold enough we may even get a whole mess of snow. BUT…a problem with the snow scenario, provided everything moves as suggested, is if we have enough cold air.

Bottom line is if you hear before the weekend about a snowstorm next week, don’t get all worked up. Is it possible? Yes. BUT, there are many hurdles to overcome and many factors have to come into line exactly right and that is far from clear or imminent. I can tell you about “my feelings” on the subject but the truth is that atmospheric physics doesn’t take my feelings into account. My only feeling worth sharing is to enjoy the great weekend and as you do, we will see how it shakes out. The scenario won’t really show itself until Sunday or Monday. And keep this in mind…the model that first advertised this big event had it and then it completely made it disappear into fat air. Then magically, it reappeared. So…it’s possible but not necessarily probable…just enjoy the weekend.


From Bobbitt to Hamm: The 11 Most Famous Penises in History

Measuring 11 inches&mdashsoft, mind you&mdashthis mystic's member now rests in a jar at a Russian erotica museum. FIELD TRIP!

2. Giacomo Casanova

This Italian ladies' man bedded many broads in his day, putting his man bits to molto good use.

3. The David

One of the most famous statues in history, Michelangelo's nude masterpiece puts his artful peen peen on full display. Props for a well-groomed bush, too.

4. Errol Flynn

This old Hollywood actor is not only known for his notable sausage size, but for once whipping it out to play "You Are My Sunshine" on a piano at a party. Now, that's talent.

5. Wilt Chamberlain

This NBA legend's Johnson was a crowd-pleaser: Wilt reportedly bedded over 20,000 women over the course of his life. And according to the above photo, his anaconda was Jon Hammian in proportion.

6. John Holmes

One of the most prolific porn stars of all time, this well-hung gent supposedly measured in at 13.5 inches, according to his manager. His wife, however, claimed his penis was actually only 10 inches. Details, details.

7. Ron Jeremy

Famous for his XXX-movie skillz, this adult film actor boasts a 10-inch ween. Ron's Dong even had its own blog to promote one of his flicks.

8. Tommy Lee

After his sex tape with Pamela Anderson made the rounds on the interwebs, the rest of the world found out what porn stars have allegedly told Tommy for years&mdashthat he's seriously packin'.

9. John Bobbitt

You can take the dick out of the man, but you can't take the man out of the dick. Bobbitt had it chopped off, then still got down with 70 women post-reattachment. Gotta love his perseverance.

10. Jon Hamm

While most men would love to have a renowned rod, the Mad Men actor (and LOVE OF OUR LIVES) isn't cool with us ogling his sizable joystick and has requested that he's only photographed from the waist up. Might we then suggest he start wearing underwear? Or don't. Actually please don't.

11. Jonah Falcon

At nine inches flaccid (and over 13 inches hard) this guy's got the world's largest penis, unofficially. After TSA once mistook his dick for a weapon, and HBO made a documentary about the dude, Johan released a notable music video about his member called "It's Too Big." Indeed the outline through these neon bike shorts looks like a jumbo log of salami. and we're officially scared.

Want more penis reporting from Natasha? Follow her on Twitter @NatashaNBurton.

Photos 1-9 and 11 courtesy of Getty Images. Photo 10 courtesy of Pacific Coast News


Art History, Refreshed at the Getty

Roman Sculpture gallery, part of the recently reinstalled antiquities collection at the Getty Villa

Eric Gibson

The paradox of the classical world is that it is ever-present, pervading so many aspects of daily life, and at the same remote to the concerns of that life. So when Timothy Potts, director of the J. Paul Getty Museum, decided to reinstall its collection of antiquities in its Villa, he faced a high bar: how to make that material more accessible and engaging to a 21st-century audience. The context didn’t make the job any easier: Los Angeles, city of the continually new, where surface is all. But he has cleared that bar spectacularly.

The Getty Villa is the original J. Paul Getty Museum, a structure—modeled after the ancient Roman Villa dei Papiri in Herculaneum—that was built by Getty himself and that opened in 1974, two years before his death. Previously the collection had been arranged thematically. But Mr. Potts has now reverted to the more traditional chronological approach, with the result that we can now track the history of the ancient world from its beginnings in 6000 B.C. to the late Roman Empire in A.D. 600. The objects include sculpture, pottery, paintings, glass and jewelry.

It makes for an extraordinary visual progression. The collection divides naturally into two, with Greece on the first floor and Rome on the second. On the first floor we move from Cycladic figure sculptures, so modern-looking in their simplicity and reductiveness, to “The Victorious Youth,” aka the Getty Bronze, a Hellenistic statue of an athlete so lifelike that he seems caught mid-motion. Taken as a whole, the installation movingly tells the story of man’s growing understanding of himself and his place in the world.

Highlights of the second floor include a gallery of Roman portrait busts and another for glass, this last filled with works of such aesthetic and technical refinement as to make one question one’s reflexive sense of 21st-century cultural superiority. Throughout, thanks to the deft use of placement, lighting and wall color, Mr. Potts, working with Senior Designer Amanda Ramirez, has endowed the objects with such presence that they virtually speak for themselves without needing wall texts.


#Pedogate – Getty Museum – Home Of The Cabal’s Underground City of Child Sex Slaves Threatened By Fire, December 8th, 2017

The underground base and city at the Getty Museum in Los Angeles is exposed by whistleblower Steven D. Kelley. He reveals how his experience in the laser industry led him into contact with the dark military-intelligence alphabet agencies. Using remote viewing techniques, Kelley was able to see some of the levels below the surface, where he saw stolen Tesla free energy technology. Kelley reveals the underground city is linked by tube to Edwards AFB and the rich LA homes in surrounding hills, and exposes how Satanic rituals are occurring there, using homeless people and missing kids.

#OccupyTheGetty – How We Can Expose The Satanic Underground

While it might have sprung from true patriotic intentions, the standoff in Harney County, Oregon has descended to needless tragedy and farce. Evidence suggests the “last holdouts” are in fact paid actors. LaVoy Finicum met a violent end, and for what? Occupying a tiny federal facility in the middle of nowhere achieves nothing. Yes, Americans have firearms, but the common folk will always be outgunned by a government capable of Waco. If we are to turn things around, we need strategies transcending brute force. A man named Steven D. Kelley has just such an idea.

Kelley is an electro-optical engineer, a pioneer in laser technology, and the inventor of the world’s most accurate laser sighting system for weapons. As a young man, he became a contractor for the CIA/NSA. Throughout his career in the weapons industry, he was given glimpses into a literal underworld of black budget intrigue: an intercontinental network of subterranean “castles”, powered with Tesla technology, connected by supersonic mag-lev trains. Eventually, he severed all ties with the intelligence community to become a whistleblower. For the last several years he has hosted a weekly radio show in L.A.*

The architects and ultimate inhabitants of these underground facilities are “elite” international and intergenerational satanists. Kelley refers to them as “cavers”, and regards the facilities themselves as “castles” because of their Caligula-like opulence. Much has been published about DUMBs – Deep Underground Military Bases – but Kelley is the first to give us a clear picture of what the writers of the Protocols of Zion called their underground “metropolitans”:

You may say that the goyim will rise upon us, arms in hand, if they guess what is going on before the time comes but in the West we have against this a maneuver of such appalling terror that the very stoutest hearts quail – the undergrounds, metropolitans, those subterranean corridors which, before the time comes, will be driven under all the capitals and from whence those capitals will be blown into the air with all their organizations and archives. (Protocols 9.13)

According to Kelley, the “crown jewel” of this network lies deep beneath the Getty Museum in Los Angeles. Constructed of thick travertine atop the largest concrete foundation pour in history, the Getty is actually a fortress designed to withstand ballistic assault. It sits atop a hill overlooking L.A. Visitors park at the base of the hill and must take a tram to the main entrance. Inconspicuously located nearby is the smaller entrance to a security corridor. This corridor leads, eventually, to an enormous elevator situated behind nuclear-blast-resistant doors.

The elevator descends to the castle, over a mile underground. The top level is a spa facility of Caligula-like decadence. Below the spa are opulent residences. The lowest level is a satanic dungeon where people are tortured and ritually sacrificed. Radiating outward from the residential section are tubes whereby cavers may travel to other underground locations around the planet via the mag-lev trains.

Of all the “metropolitans”, the one below the Getty is the most luxurious. (Think solid gold commodes to get the general idea.) It was built by the J. Paul Getty Foundation for Queen Elizabeth and now houses much of the loot once hoarded under the Vatican. Prince Andrew paid a visit in 2000, perhaps arriving from Edwards AFB via tube transit:

Interesting it is also that J. Paul Getty Jr. was knighted by Queen Liz in 1998, the year after the museum’s completion.

“The Getty is an Ark for royalty and art,” Kelley explains. “Unlike most of the the 250-odd other metropolitans under the continental United States, it lacks pretext for military-grade security. Issues like ‘national security’ or ‘continuity of government’ have no relevance there. Unlike Dulce or Area 51, it is completely approachable. If we occupy it peacefully, there is no way they can justify a violent response.”

On the flip side – as intimated in the Protocols quote – the Getty is designed to deal with violent intruders in a doomsday scenario. Presumably, the proverbial red button blinks somewhere within its bowels. The museum’s architecture has bizarre features that start to make sense if we view it as a de facto fortress. Take for example this turret-like structure:

The CIA man at the end of the walkway serves here as a size reference. The turret wall is nearly as thick as he is tall, and ten times as high. It is located on the perimeter of the museum complex, facing the city of L.A. What purpose does this thing serve? Might it conceal a weapon of mass destruction, or is it just the world’s biggest and most expensive cactus pot?

At first glance, the claim that an art museum is actually a fortress guarding an underground pleasure palace and satanic temple might seem far-fetched. Yet we know that orgies, pedophilia, satanism, and human trafficking are endemic in “elite” culture. Plenty has also come to light regarding underground facilities, as well as the technology needed to create them.

Slavery never ended, but was re-invented so as not to be recognized as such by the masses. In similar fashion, the architecture of feudalism went underground.

Kelley went public with his claims about the Getty in 2012. Now he is launching #OccupyTheGetty, a call for real world patriots – unlike the actors in Oregon – to take a stand that is at once peaceful and strategically intelligent. He is calling for an occupation of the museum’s main entrance area. Unlike the fractious bitching that the Occupy Wall St. movement descended into, #OccupyTheGetty activists must stick to one unwavering demand: FREE THE CHILDREN. What children? THE CHILDREN HELD CAPTIVE UNDER THIS MUSEUM. The goal is to get public attention focused on the Getty, generating pressure on the museum to disprove the claim.

This plan might seem a longshot, but it makes a lot more sense than the armed takeover of a remote wildlife sanctuary. It aims for the eyeball so to speak. Kelley laid out the plan in detail in his radio show of January 31. Please give it a listen, spread the word, and take whatever action you can to make it a reality. To network with others to that end, please join the community at OccupyTheGetty.com.

For a comprehensive account of Kelley’s experiences, please check out his book Cities under the Plain, available at Amazon.com.

*Note: Kelley’s show on the Revolution Radio network was abruptly canceled on Sunday, February 7. The network’s owner took offense when Steven referred to the Oregon ranchers as “clueless”. The Steven D. Kelley show has now moved to Thursday nights, 10 p.m. EST, on American Freedom Radio.

Battle For The Getty – January 5, 2017

httpss://youtu.be/ET4MpsyyXXc

Regarding the Getty, and what is going on.

The #OCCUPYTHEGETTY movement involves a physical, and a spiritual component. This is the latest on both of those fronts so that you may have a true update from the actual source, and leadership of the operation.

The physical: Knowledge about the Getty is spreading world wide. Today it was exposed on live international television. Work is underway to create, comics, cartoons, movies, and music, related to the Getty story. Pizzagate is not going away, and it is being connected to the Getty. Washington elite are scrambling to start WW3 to cover this. The Queen has gone into hiding, or being held. Fake experts in the truth media are suddenly talking about false rescues of child sex slaves from under the Getty. The reality is that physical penetration of the bunker has not happened.

The spiritual: Human knowledge about the Getty, has created an intention in reality that is now allowing human psychics to penetrate ancient, and sophisticated astral protections set in place to protect, and shield the entire deep underground bunker system. These protections were set in place to stop human, and non human intervention. Because of our efforts, light beings have indeed been able to enter the first levels of the complex below the Getty Center in Los Angeles CA, USA.

This is a historic event of galactic size. These entities have been waiting longer than we can understand for this to happen. This is the beginning of the fall of the dark side. Loosh production is being halted. Victims are being treated on an astral level, but their physical bodies are still being held captive. Energetic “cleaners” are being installed to bring light back to this area, and permit our eventual entry. Systems are being installed to permit the release of spiritual energy that has been stored there. Negotiation are in progress with the entities still there. Amnesty and love are the only tools we have, and the secret to our winning this battle now. Huge spiritual growth must happen everywhere soon, before we can have disclosure and the completion of this mission.

Order Marines to rescue the child sex slaves under the Getty Center in LA. Created by S.K. on December 01, 2017

Of the million children that go missing in the USA every year, 100,000 are never seen again. We know that these children are being kidnapped, held captive, tortured, raped, murdered, and eaten. We know that the constant stream of high profile pedophile arrests, are the tip of the iceberg. The main nest of these criminal pedophiles is inside of the bunker below the Getty Center museum in Los Angeles, Calif.. We demand that our Marine Corp be called to OCCUPY THE GETTY, access the elevator to the bunker, and immediately free our children and return them to the surface. Do not allow these monsters to use underground bunkers, under the pretense of “continuity of Government”, to rape and eat our children in honor of their Satanic beliefs.


Jean-Paul Getty (1892 – 1976) was an American born petrol-industrialist. He founded the Getty Oil Company, and in 1957 was named the richest living American.

At his death, he was worth more than about $21 billion in today’s values. Despite his vast wealth, Getty was famously frugal, but also an avid collector of art and antiquities.

His collection formed the basis of the J. Paul Getty Museum in Los Angeles, California, and more than $661 million of his estate was left to the museum after his death. He established the J. Paul Getty Trust in 1953.

The Getty Trust is the world’s wealthiest art institution. It operates the J. Paul Getty Museum Complexes: The Getty Center, The Getty Villa, and the Getty Foundation, the Getty Research Institute, and the Getty Conservation Institute.


Watch the video: Μουσείο Νάπολης Αιγυπτιακή Συλλογή Museum of Naples Egyptian Collection (October 2022).

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