The shooter has not yet been publicly identified and he remains on the loose hours after opening fire on a busy northbound N train as it approached 36th Street in Sunset Park. The suspect in the Brooklyn subway shooting was on the FBI’s terrorist radar in New Mexico until 2019, according to a report – and was cleared after ‘multiple interviews’. “NYC subway shooter’s Philly-rented U-Haul is found abandoned on Brooklyn highway five miles from where he shot ten straphangers: Gunman was on FBI’s terrorist radar until 2019,” by Jennifer Smith, Shawn Cohen, James Gant, Andrea Blanco and Harriet Alexander,, April 12, 2022: Like the Waukesha suspect & the Louisville BLM activist who allegedly tried to assassinate a mayoral candidate, he appeared to be a fan of black nationalism. They rushed to report that it was not terror, when it was - but peaceful patriots demonstrating for election integrity are terrorists and jailed without due process.īreaking: NYPD named Frank James as a person of interest in the #Brooklyn mass shooting. The essay thus reveals the spectacular origins of gas-lighting, the importance of geography for the history of invention, and some of the ways in which a change of location could affect issues of authorship and intellectual property in the nineteenth century.Think about how dangerous and deceitful Democrat-run NYC government and their lapdogs in the press are. When protagonists in the industrialization of gas-lighting Frederick Windsor and William Murdoch became embroiled in priority disputes over the invention, both accused the other of being a mere theatrical showman, and both denied any links to such activities. That such settings have been forgotten in the standard histories of gas-lighting is then explained by a change in the geography of gas in the early nineteenth century. These settings, it is argued, were primarily theatrical – spectacular shows where gas was used to imitate fireworks and create impressive illuminating effects. This essay uncovers the settings in which coal gas and hydrogen were first used to generate light, leading to the creation of a gas industry lighting streets, homes, and factories in the early nineteenth century.

The essay examines how performers thus sought to discipline audience observation, before exploring, in conclusion, how spectacle provided a vocabulary for discerning and articulating new natural phenomena, and sites for the pursuit of novel experiments. Both natural and artificial spectacles were intended to teach morals about the state and nature, yet audiences rarely seemed to take away what they were expected to learn. The essay follows the changing ways in which audiences were imagined or expected to react to fireworks and shows how these also shaped experiences of natural phenomena. Using examples from the history of fireworks, this essay explores acts of observing natural and artificial spectacles between the sixteenth and late eighteenth centuries and suggests these acts of observation were mutually constitutive and entailed ongoing and diverse exchanges. We can deduce their forms, stories and messages from surviving synopses and printed illustrated sheets.Įarly modern Europeans routinely compared nature to a theater or spectacle, so it makes sense to examine the practices of observing real spectacles and performances in order to better comprehend acts of witnessing nature. They were instruments of the complex patterns of contemporary propaganda and courtly representation, and their stories reflected the reality, desires, visions and concerns of the ruling dynasty. In Central Europe, several performances were staged at the Habsburg court from the middle of the 17th century onwards which were clearly among the most costly, complex and, above all, the highest-quality pyrotechnical displays of their kind in the history of human culture. The development of fireworks, and especially rockets, gave prominence to intricately conceived displays, which were gradually developed according to the changing tastes of musical theatre productions and the skills of masters of pyrotechnics. During the 15th and 16th centuries their designers, often high-ranking artillery officers, became an increasingly important part not only of army but also of court life. Early modern firework illuminations and displays formed part of festivities in both secular and sacred contexts from the end of the 14th century.

Falcon rising firework