History – Tony Ward

Travel: Last Days at The Plaza Hotel

Fashion photo of tall dutch model wearing gorgeous full length dress with kinky prop — Anna at The Plaza Hotel. Photo: Tony Ward, Copyright 2004

Last Days at The Plaza Hotel

As We Once Knew It

Anna and I checked in to the Plaza Hotel on the last day it was to be open in 2004 for several years. Its mystique would change forever. I booked one of the iconic rooms to test shoot several dresses designed by a friend in the fashion industry. The style of the clothing was most suitable to the grandeur that exuded history and class.

The Plaza Hotel, perched at the corner of Fifth Avenue and Central Park South in New York City, is one of the most storied landmarks in hospitality. Since its opening in 1907, the Plaza has stood as a symbol of opulence, hosting world leaders, celebrities, and cultural moments that shaped its legacy. But even icons must evolve, and in the early 2000s, the Plaza underwent a significant transformation that changed its history forever.

When the Plaza opened on October 1, 1907, it redefined luxury. Designed in the French Renaissance style by architect Henry Janeway Hardenbergh, the 19-story hotel featured crystal chandeliers, lavish ballrooms, and unparalleled views of Central Park. Its suites catered to royalty, business magnates, and stars of stage and screen, while its Palm Court became synonymous with high society gatherings.

woman seated on bed at Plaza Hotel with underwear showing — Photo: Tony Ward, Copyright 2004

Over the decades, the Plaza became a cultural touchstone, immortalized in literature, film, and television. From its role in F. Scott Fitzgerald’s The Great Gatsby to its portrayal in Home Alone 2, the hotel remained an enduring symbol of glamour and sophistication.

By the late 20th century, the Plaza faced challenges as newer luxury hotels emerged. Maintenance of the historic building became costly, and ownership changed hands multiple times. In 2004, the Plaza closed its doors for a major redevelopment under its then-owner, El-Ad Properties. The plan was controversial: the iconic hotel would be partially converted into luxury condominiums, with only a portion remaining a hotel.

The decision sparked public outcry, with preservationists and New Yorkers mourning the loss of a beloved institution. Still, the redevelopment moved forward, balancing modern demands with the building’s historic charm.

After a three-year renovation, the Plaza reopened in 2008 with a new identity. Of its 805 original rooms, 282 were transformed into private residences, while 282 remained hotel rooms. The redesign preserved iconic elements, including the Palm Court and the Grand Ballroom, while introducing modern amenities to attract contemporary clientele.

Today, the Plaza Hotel remains a blend of its historic past and modern reinvention. Its transformation in the early 2000s reflects the evolution of New York City itself—a place where tradition and innovation coexist. Though its role has shifted, the Plaza continues to captivate, reminding the world of the enduring allure of Fifth Avenue’s crown jewel.

When I checked out of the hotel the next day a bellman came up to my room with a tearful eyes. I asked him what was wrong. He said, “Ive worked at this place for the last 50 years. It will never be the same.”

beautiful Dutch woman lying on bed at the Plaza Hotel NY — Photo: Tony Ward, Copyright 2004

Style: Man and His Beard

Handsome black man with distinctive full beard — Photo: Tony Ward, Copyright 2024

Style: Man and His Beard

There’s something undeniably iconic about a man and his beard. From the rugged pioneers of history to the carefully groomed gents of today, beards have always held a place in the story of masculinity. But over the past decade, beards have gone from being a niche statement to a global phenomenon, adorning faces everywhere from hip coffee shops to corporate boardrooms. What’s behind this resurgence, and why does facial hair continue to captivate us?

Historically, beards have been loaded with meaning. In ancient Mesopotamia and Egypt, beards were symbols of power and status, often groomed meticulously or even adorned with gold. Greek philosophers like Socrates sported beards as badges of wisdom. In the Victorian era, industrialization gave rise to the belief that beards were a mark of health and virility, protecting men from the cold and even warding off disease.

The 20th century, however, saw the decline of the beard. Clean-shaven faces became the norm, partly due to military regulations and the rise of mass-marketed razors. Beards, once symbols of prestige, were relegated to the fringes—adopted by beatniks, hippies, and countercultural movements of the 1960s and 1970s.

Handsome black male with distinctive beard and glasses — Photo: Tony Ward, Copyright 2024

Fast forward to the 2010s, and the beard is back in full force. The resurgence can be credited to a mix of cultural, social, and economic factors. First, the rise of social media has turned grooming into a visual art form. Platforms like Instagram have created spaces for men to celebrate their facial hair, with countless influencers and barbers showcasing perfectly shaped beards.

Second, the modern man’s relationship with traditional masculinity has evolved. Beards have come to signify a return to authenticity and individuality in a world of digital filters and fast fashion. Growing a beard requires patience and care, qualities that stand out in an era of instant gratification.

Finally, the rise of artisanal and bespoke culture—think craft beer, bespoke tailoring, and gourmet coffee—has elevated grooming to an art form. Beard oils, balms, and grooming kits now line the shelves of department stores, turning facial hair into a multi-billion-dollar industry.

Beards, in essence, have become a bridge between tradition and modernity. Whether worn as a statement of style, a nod to heritage, or simply as a personal preference, the beard is more than just facial hair—it’s a timeless icon of identity and self-expression.

Venice, California: The Iconic Binoculars Building on Main Street

The Binoculars Building

Back in the early 1990’s I was working regularly with Art Directors that were employed by Advertising Agencies. The bigger the agency the larger the potential project for a freelance photographer. Chiat Day was one of those agencies that had cachet and every photographer in the world wanted to work with them. I had the good fortune of being summoned to the New York division of Chiat Day to be offered a peachy national ad campaign in the early 1990’s and very quickly got to know the location of the LA office.

The building at 340 Main Street in Venice, California, famously adorned with a massive sculpture of binoculars at its entrance, is an architectural and cultural landmark. Known as the “Binoculars Building,” it was designed by the legendary architect Frank Gehry in collaboration with Claes Oldenburg and Coosje van Bruggen, who created the distinctive binoculars sculpture. Completed in 1991, this striking structure is a testament to Gehry’s imaginative and unconventional approach to architecture.

Initially commissioned by advertising agency Chiat/Day as their headquarters, the Binoculars Building was intended to symbolize the company’s creative spirit and forward-thinking philosophy. The binoculars, which double as a functional entrance to the building, immediately capture attention, blending art with architecture in a way that feels distinctly Californian.

The building itself is a blend of Gehry’s signature deconstructivist style and practical office space design. It consists of three main sections: the binoculars in the center, flanked by two asymmetrical structures with undulating forms and sharp angles. These elements create a dynamic composition that reflects Venice’s eclectic and artistic vibe.

Over the years, the building has transitioned to serve new tenants. In 2011, Google leased the space as part of its Southern California campus, further solidifying the site’s association with innovation and creativity. Today, it stands as a hub for tech and creative professionals, while continuing to attract admirers of its architectural and artistic significance.

The binoculars sculpture itself is more than a decorative feature; it houses a conference room and other interior spaces, showcasing the functional integration of art and architecture. This fusion makes the building an enduring symbol of Venice’s cultural identity, where art, innovation, and community intersect.

As one of Frank Gehry’s most playful works, the Binoculars Building remains a must-see destination in Venice, drawing visitors from around the world who are eager to experience its unique blend of creativity and functionality.

Recently during a trip to LA it just so happened that I stayed in an Airbnb just down the street from Chiat Day’s former office. I was riding along on a bicycle scouting backdrops for a shoot when I came across memory lane. I must have been in and out of that building multiple times during that time period. It was great to see that old memory come alive!

2024: Covers of The Year

2024: Covers of The Year

The Selection Process

In the world of print and digital media, a magazine cover is more than just an introduction; it’s a bold statement. A cover serves as the magazine’s handshake to potential readers, a visual ambassador that communicates the essence of the issue. Choosing the right image is a critical decision that can determine whether a magazine gets picked up or passed over. This is true for online webzines like TW as well.

A magazine cover has less than five seconds to grab a reader’s attention. On social media or even the internet even less. In that fleeting moment, the image must convey a story, evoke emotion, and spark curiosity. It sets the tone for the content within and defines the publication’s identity. Whether it’s a striking portrait, an artistic still life, or a dynamic action shot, the image must resonate deeply with the target audience.

Equally important is the alignment of the image with the magazine’s theme. For example, a travel magazine may choose an expansive landscape to inspire wanderlust, while a fashion publication might highlight a model wearing bold, trend-setting attire to reflect the latest styles. The image must seamlessly integrate with the coverlines, typography, and overall design that’s been evolving over the years creating a cohesive visual narrative.

Beyond aesthetics, the image must also provoke an emotional response. I have discovered over the past 10 years of publishing homepage covers, they often feature elements of surprise, intimacy, or drama—elements that compel readers to take a closer look. A captivating gaze, a powerful moment frozen in time, something erotic or controversial can intrigue our viewership and encourage them to explore further.

Practical considerations also play a role. The image should be high-quality, with a resolution and composition that accommodate text overlays without losing impact. It must stand out on crowded google searches and in digital previews, where competition for attention is fierce.

Finally, cultural relevance and sensitivity are paramount. A cover image should reflect the sites left leaning societal values and avoid misrepresentation or controversy that alienates readers. Striking the right balance between boldness and respect ensures a positive and lasting impression.

Choosing the perfect magazine cover image is both an art and a science that I’ve practiced diligently over the years. When executed thoughtfully, it becomes a gateway to the stories within—a visual promise of inspiration, insight, and discovery. In the end, the right image doesn’t just catch the eye; it captures your memories and inspires you.

Bob Shell: UFO Stupidity

AI generated illustration of alien spacecraft — AI generated illustration of alien aircraft

UFO Stupidity

Those of us who keep up on the news about UFOs, called AAP (Anomalous Aerial Phenomena) by the US government, are always disappointed when we’re promised revelations by the government. This was once again true of the two recent Congressional hearings on the subject.

There were no revelations in those hearings. The witnesses who were questioned by some incredibly stupid representatives and senators told is nothing we hadn’t heard before, multiple times.

Too often we heard, “I cannot answer that in an open session.” Why the hell not? Oh, they’ve signed nondisclosure agreements with the government. Doesn’t Congress have the power to lift those restrictions? Why is the subject always hidden behind closed doors? Don’t we the people have the right to know what our government knows? This is democracy?

Time after time, presidential candidates have promised disclosure if elected, and time after time they have reneged on that promise once elected.

The answer may lie in what a retired Airforce ‘bird colonel’ told me in 1996 while I was researching ‘Beyond Roswell,’ the 1997 book I coauthored. When I asked him about debris from the Roswell crash, he said, “We’ve had that goddam stuff for over fifty years and we still don’t know what the f*** it is or where it came from!” Now that might be a good reason for secrecy.

We know that the first government to have a UFO research program was Mussolini’s, instituted in 1933 after a UFO crash in northern Italy. Documents pertaining to that crash and subsequent research have recently come to light. We don’t know what became of the wreckage from that craft, but Italian researchers believe Mussolini gave it to the Germans. Some of the Nazi’s more unusual projects may have sprung from that, notably the Glock (German for bell). Much has been written about the Nazi Bell, so I won’t go into it here. I’m sure Google will bring up many stories.

My own speculation as to why the US government won’t tell us what they know is that they don’t know much. What government wants to admit that there are things using its airspace which that government does not know the origins of, and to which it has absolutely no defense.

The questions asked at those hearings showed that the congressmen and congresswomen didn’t do their homework. If they had, they’d have known that UFOs are not technology from China, Russia, Iran, or any other country. One man actually asked, “What country do they come from?” with a straight face. These things have been around for thousands of years! They are not the technology of any human country. The hearings should have interviewed someone like Jacques Vallee, someone who has researched the phenomenon for many years and knows the historical background. Instead of saying that the phenomenon has been around for decades, as they did, they need to realize it has been around for centuries, millennia.

Will our world governments ever come clean to their citizens? I wouldn’t bet money on it.

My father, Jim Shell, was a TV news reporter who took UFOs seriously and did stories about incidents. He always hoped to find out the truth. He went to his grave in 2001 without getting answers from the government he fought for in World War II. He deserved better, we all deserve better.

About The Author: Bob Shell is a professional photographer, author, former editor in chief of Shutterbug Magazine and veteran contributor to this blog. He is currently serving a 35 year sentence for involuntary manslaughter for the death of Marion Franklin, one of his former models. He is serving the 17th year of his sentence at Pocahontas State Correctional Facility, Virginia.

On September 16, 2024 Shell’s release date got moved up six years due to new “mixed charges” law to February 2, 2030. It was 2036.

To read additional articles by Bob Shell link here: https://tonyward.com/bob-shell-censorship-is-alive-and-well-in-virginia/