The Lucas Museum of Narrative Art – a rant following the aftermath of its Chicagoland death
When I first heard about George Lucas’ plans to build a museum to house his extensive art collection, its plans were being presented to The Presidio Trust in San Francisco, in 2013.
Lucas’s vision was to build his museum on park land near the north side of the Presidio (a converted military base near The Golden Gate Bridge), giving it a bay view. The upside to the proposal, was that George would fund both the construction, and endowment for the facility, which would be in the multi-million dollar range.
However, after altering his building design to fit more in line with surrounding structures and guidelines, the Trust was not willing to give him the area he wanted. Though they offered him another section (closer to his Lucasfilm headquarters, away from the water), Lucas decided to pull up stakes and look elsewhere.
A number of other cities voiced their eagerness to take on the project, with George soon accepting the invitation from Chicago Mayor, Rahm Emmanuel.
It seemed like a slam-dunk choice, given that Lucas had married Chicago native Mellody Hobson in 2013, and had now expanded his stomping grounds to the Windy City (where he had been seen at several events).
In the Spring of 2014, a small meeting was held at the Chicago Cultural Center, where a number of persons in the community, were encouraged to come and sound off on the museum.
My friend Donna and I eagerly attended, but most in attendance, were there as representatives from surrounding neighborhoods, and communities.
The majority that came to the podium, envisioned the museum as an iconic facility, that could bring about a rebirth to their ailing communities across the Chicagoland area (one even mentioned how maybe a monorail could take those to the Museum if it were built on the far south side community he supported).
My thoughts on the museum when I got up to speak, were moreso the rantings of a kid who came from Iowa, and was enamored with ‘what’ the Museum could be, instead of ‘where.’ I didn’t quite have the same mentality as those in the room. All I knew, was that I wanted what was being offered to the city.
The Lucas Museum of Narrative Art’s ability to show a variety of art styles beyond the norm (including storyboards, concept, and illustration art), was a big draw for me. There was also talk of how the facility could be used for film screenings/premieres, lectures from those serving in the industry, and…a way to show kids in the Midwest another side of art, that was not currently available!
After leaving that meeting, I couldn’t help but think in my head, that while many had high hopes that Lucas would choose their community surrounding the city, I could easily imagine him looking to centralize the location, closer to the heart of the city.
…and lo and behold, I was right.
The announcement came a few months later, with word that Lucas had chosen an area between the city’s Soldier Field stadium, and McCormick Place East convention center structure. The space was currently serving as a parking lot, used mainly for tailgating for Chicago Bears football games.
However, with the announcement, came word from a non-profit group called Friends of the Parks, that a lawsuit was being filed. The group claimed that the new structure violated the “Lakefront Protection Ordinance,”meant to protect the lake front from private enterprise building upon it (even though Rahm claimed the museum would be a public institution).
A number of other hoops were quickly jumped through regarding approval of the project, but when it came to the lawsuit, it was not easily dismissed, with the judge handling the case, claiming it had a valid point to be looked into further.
Acceptance of the museum didn’t get much better a few months later, when the MAD Architect Firm from Beijing (whom Lucas had commissioned to design the structure), unveiled their design:
Needless to say, its radical design immediately rivaled the metal-and-glass retrofitting of nearby Soldier Field, as well as led to all sorts of nicknames from a city that couldn’t understand why George couldn’t just ‘build a building.’
The design garnered such nicknames as “the salt pile,” as well as “Jabba the Hutt.”
The fall and winter period, as Chicago moved into 2015, didn’t get any better. The judge handling the FOTP lawsuit upheld the request to keep any work from taking place, claiming the lawsuit had merit in regards to the concerns of the Parks group.
Even the mayoral election that Spring brought up the museum, with rival candidate Jesus “Chuy” Garcia, claiming it as “a monument to Darth Vader,” pretty much cementing that he wasn’t a fan.
Not much was brought up regarding the Museum in the summer of 2015, but by the fall, revamped renderings from MAD revealed a “compromise” to its design:
The design reduced the size of the museum, but also showed that they were willing to add park and prairie area to the surrounding grounds, nestling the design in a more eco-friendly landscape.
But even this didn’t placate the Friends of the Parks, let alone word soon after that the Chicago Plan Commission, had approved leasing the Park District land to the Museum, for just $10, as part of a 99-year lease.
Things then started getting testy in the early part of 2016, when word spread that Lucas might look elsewhere, given the sluggish approval pace. A number of people then threw out their own proposals for alternate sites. Some eagerly suggested again that George bring his museum to one of the south side communities (such as the former South Works US Steel site, 9 miles south of the Chicago Loop), while others said he should build it across the street from the lakefront. Several even suggested that the filmmaker rehab an existing structure downtown.
Famed architect Helmut Jahn even suggested that the Museum could maybe me ‘melded’ into the framework of the nearby McCormick Place East structure, re-purposing it.
Some have to wonder if that idea, may have led to the “Plan B” proposal, that was shown in late April.
The new proposal, called for razing the McCormick Place East convention building. The Lucas Museum would keep its same footprint size, with this latest proposal claimed as a win-win for park and lakefront fans: it would leave the Soldier Field parking lot untouched, AND add 12 acres of parkland onto the former East site, that the museum’s footprint didn’t touch.
Unlike the first plan, this one would end up needing an extra monetary boost…to the tune of $1.2 billion that the city would need to find. The funds would go to razing the McCormick Place East structure, and add additional room to the McCormick Place structures on the other side of Lake Shore Drive, to compensate for the floor space lost from the East building.
Even with the costs to demolish and add-on regarding McCormick Place, Lucas would still fund the museum’s building construction and endowment out of his own pocket.
Murmurings were that this might be the compromise to go with (since the parking lot situation was still tied up) and that Lucas might be okay with the new location, as a viable option! Even so, many complained that with a number of the city’s current issues, spending a billion dollars to knock down a building and build a new one, was really sounding more like a desperate “vanity project” on the mayor’s part.
And then came May 3rd, 2016.
In the morning, word came that the Friends of the Parks were suspending their lawsuit.
To many, it looked like there might finally be a compromise! Surely there must be some hope that the new proposal to raze the convention hall had some merit!
However, as the day wore on, it soon became apparent that this was not the case.
An additional note from a representative of the Parks group a few hours after the suspension news, claimed that they were actually not willing to accept the mayor’s “Plan B.”
The general message was, “while we aren’t against the museum, we don’t want it anywhere near the lakefront…however, we are more than willing to help the museum team find a new location away from the lakefront.”
A few hours later, Lucas’ wife Mellody Hobson then released a statement, claiming that she and her husband, were now officially looking elsewhere for a place to put the museum, and painting the FOTP persons in a not-so-rosy light.
Though she didn’t say the plan was dead, her words, along with the thought that FOTP would surely file a lawsuit blocking any action on the “Plan B” site/proposal, pretty much signaled the end for the city’s chances. By the end of the day, the d-word was being seen across numerous postings and articles on the internet.
Needless to say, I went through the rest of that day feeling numb. Social media didn’t help dull the pain, with most tweets online sounding like kids who were glad to be rid of the equivalent of a herring pie, given by their grandmother.
As well, looking for any talk about the project on social media over the last few years, had largely been persons just retweeting or reposting currently-running news articles.
If there were others out there who shared my same views on what could be, I never seemed to find them. The most I would often find, was the typical internet snark of people calling it “A Star Wars Museum,” or complaints about its unnatural design.
I had a lot in my head that had been building up over the last few years, and as with quite a few other blog posts I had done, I thought I’d get out some of my own views right here, on my blog.
This entire post is also one of the longest I’ve ever written for my blog (over 5,000 words), so you might want to have a sandwich or a drink nearby, if you wish to settle in for the long run. Above you got a summary of the 2-year debacle, and now, you’ll be able read some of my observations and thoughts, regarding what transpired.
Chicago isn’t a town largely known for its understanding of art
Though we do have one of the premiere Art Museums in the world, Chicago often suffers from the same issues that most Midwestern areas do: they don’t quite ‘get’ art.
From the start, many couldn’t fathom what “narrative art” was. For someone like me who had grown up understanding about concept art, storyboards, and costume design, it made sense…but to most people, they are usually more enamored with the finished product than the ‘why’ or ‘how.’
Most often think of art in the Midwest in the simplest terms, and sometimes, the only way to get around the weirdness of some art, is to give it a ‘simple name’ or go with the old adult standby (“that looks like something my kid could do!”).
Take the structure known as Cloud Gate in Chicago’s Millennium Park. It’s a massive curved, mirrored structure…but to many, given its kidney bean shape, it is moreso referred to as, The Bean.
Chicago has also had those who scoffed at other artistic endeavors over the years. In the heart of the loop, is a 50-foot sculpture, made by Pablo Picasso. Though one would assume getting a Picasso in your city would be cool, many were opposed to it back in the 1960’s (with people at the time mentioning everything from a statue of Ernie Banks, to a giant pickle would better suit the site!). Editor Mike Royko was even quoted as saying upon its unveiling, “Interesting design, I’m sure. But the fact is, it has a long stupid face and looks like some giant insect that is about to eat a smaller, weaker insect.”
Much like the Lucas Museum, it was considered by the artist as “a gift.” Four charities and foundations paid for its $350,000+ price-tag, but Picasso himself was offered a $100,000 payment (which he refused to take).
Chicago has moreso been a town that deals in the realms of business and sports: very ‘adult’ things that feel more like the ‘meat and potatoes’ of the average American. You’re more apt to find someone to talk to you about last night’s baseball game at the watercooler, than to have a discussion regarding The Art Institute’s latest Van Gogh exhibit.
Most locals couldn’t fathom the design of the structure
Unlike the more straight-lined design that Lucas proposed on the Presidio site, his designs for Chicago were going to take on a more ‘natural’ look.
In a stage interview with Charlie Rose (in the fall of 2014), Lucas claimed that the design would be more organic (“like a sponge,” he mentioned at one point), claiming that organic architecture was where he felt design was headed.
Most Chicagoans didn’t get the memo though, when the MAD Architect firm from China, revealed that first design. To most of the pedestrian minds in this major city…it was just, ‘weird!’
It wasn’t so much a sponge, but was moreso void of straight lines, almost like it had grown up through the grassy landscape, like a strange fungi.
It’s stark white structure looked mountainous, with several areas of its design, boasting upper levels would provide several areas to take in views of the surrounding landscape, with a 360-degree viewing area under an awning at the top.
Such stylings are relatively foreign to our shores. Many structures in our country, largely keep with the standard square and rectangle function (with minimal curvature).
Even so, the design of the museum wasn’t foreign to the MAD Architects. They have also designed a number of other organic structures, with the most recent completion being the Harbin Opera House, which was completed in China, in December of 2015.
As one can see from this concept picture on the right, its design and integration into the surroundings seems to mirror what Lucas was going for with his lakefront design. Even the description of the Harbin structure, told how it’s design was based on the thought that it had been ‘sculpted’ by the twin forces of wind and water.
One has to wonder if that same thought, may have influenced the architects when they were coming up with the Lucas Museum’s design.
In the shadow of Star Wars
To many out there, it’s hard to think of George Lucas, without someone immediately bringing up Star Wars.
Since it was announced, The Lucas Museum earned the rather pedestrian nickname of, “The Star Wars Museum.” And to many who read that, that’s all they could see: this weird structure being little more than a repository for props and production material related to George’s films. Pretty much, a shrine to his greatness as a purveyor of popular culture personification. Even mayoral candidate Chuy’s referencing it, shows how little the locals know, or are willing to know beyond the norms.
What many don’t realize, is that George’s entire life hasn’t always been the pursuit of a mult-billion dollar space opera. Throughout much of his life, Lucas has been a fan of (and studied) anthropology. That seems to be one of the main threads that have weaved through all of his works.
THX-1138 is an anthropological what-if, pushing into the future, based on observations of where we’ve come as a society, and intermingled with the Orwellian tones of 1984.
American Graffiti deals with the teen culture of the early 1960’s, as well as exploring the social norms and political climate, before the upheaval of American values in the late 1960’s.
With the Star Wars series, George was able to take his knowledge, and whirl it into a potent mixture that translated into a space adventure, intermingled with the shades of the sometimes hokey Saturday Matinee Serials of the 1930’s, along with political views of the young, standing in contrast to the rigid systems of an Empirical governing body.
Even with his personal art collection containing pieces by the likes of Norman Rockwell, R Crumb, and John Tenniel, many instantly zoomed in on the sight of anything Star Wars, claiming it as still being the main reason for the facility.
I will admit that though I did shun people calling it “The Star Wars Museum,” part of me did find the design that was proposed, somewhat similar to an early concept of structures from the planet Alderaan.
Though we never saw the surface of the planet (it was destroyed by the Death Star in the 1977 film), concept artist Ralph McQuarrie had done a painting, showing a number of rounded white structures, nestled into a green area by a body of water. Though the museum’s height would not reach those of the spires in McQuarrie’s work, one can’t help but feel some similarities if one looks at the concept and space that was being requested for the build.
There is, no, compromise
Throughout the entire debacle, has been mention of the non-profit organization, Friends of the Parks.
As soon as the announcement was made for the parking lot area next to Soldier Field, they immediately claimed they would file a lawsuit to ‘protect the land.’
I think many (including the mayor) didn’t think that case would come to anything, but as the lawsuit kept things halted for a year and onward, he must have started feeling the heat.
He even attempted to ask for the chance to start razing the parking lot (before a decision was made), but was denied even this. The federal judge handling the case, kept pushing onward, requesting the administration turn over all the information it had in regards to how the parking lot site was chosen (with some assuming it was possibly the only site offered).
The main weapon the FOTP organization used, was that the proposal was being done so on public land, left to Chicago via Public Trust Doctrine, which claims that the land should not be used for private enterprise, and remain open to the public (even if that land being considered, is currently occupied by a parking lot).
Given the way the events have gone, it has felt that the Mayor handled things in a decent light, moreso than one would expect. Unlike the days when the likes of the Daley administration would use some of that old-fashioned “persuasive power,” word about the handling of the situation, saw Rahm and the Lucases attempting to reach some form of compromise.
Everything from scaling back the size of the museum, to contributing space to park land, seemed unable to deter the main body of decisions at FOTP from even reconsidering.
There was also concern over the leasing deal being given to Lucas in regards to the spot, in which he would pay $10 for a 99-year lease on the land. Given the current money shortcomings in the city, many felt that the Mayor’s decision was not really ‘charitable,’ but more of a drop-in-the-bucket to a philanthropist valued in the billions of dollars (and to many when the b-word is used, “enough” is never enough).
Even in regards to ‘what’ kind of museum it was was up for debate. FOTP contested that its purpose was more for private purposes, as Rahm contested that it was a public museum. I went looking around online, and found a rather interesting article by The Huffington Post. It seems that in this day and age, the fine line between public and private, is pretty tricky to decipher.
Though in the end, the non-profit organization has never been one to back down from anything park-related. They vocally opposed the futuristic retro-fit on Soldier Field some years ago, and also were against Richard M Daley’s decisions to build parts of his 2016 Olympics bid on park land, as well as his plans to move the Chicago Children’s Museum over near Grant Park.
When it comes to the lakefront, the group has taken an all-or-nothing approach. Last October, word came they were in support of a proposal, dubbed The Burnham Sanctuary.
The sanctuary would reclaim 19 acres along the same area where the Lucas Museum has been proposed to be placed, though as one can see from the rendering, there would be nothing but parkland and trails. Plus, given that the entire area would be devoid of any revenue-generating structures, one would assume it would take someone (an institution or two) with very deep pockets to make this proposal a reality. Rahm Emmanuel’s “Plan B” proposal that called for the removal of McCormick Place East was estimated at $1.2 billion, and one has to assume that this project would most likely be hovering in the same price area.
As of this writing, there has been no further word of any takers to make the sanctuary proposal a reality.
Struggling for Freedom
One thing brought up on a number of occasions, was many feeling like the citizens of Chicago were kept out of the decision-making process. Some felt that Lucas should have attempted to be more out-going, and come forward moreso to the community as a whole, rather than seemingly just having private, closed-door sessions (word was, discussion for the Presidio site had the same approach).
Even so, George has largely not really been a big fan of committees. He’s been noted over the years as being rather quiet, and oftentimes some of his ideas, are not so easily stomached by a number of persons.
Much of his early filmmaking career was being told what he could and could not do. When Star Wars gave him his “freedom,” George set out to largely do things his way. There’d be no studio executives second-guessing his decisions, and he’d bankroll his own productions, following the success of his 1977 film. Since then, he’s largely been used to being his own person.
Some would claim him selfish, but come on: wouldn’t you want that kind of ease? One of the hardest things about being an artist or a creator, is many times having to deal with someone placing restrictions on what you do.
He’s also never been one to compromise easily. One can see that in a number of instances over his career:
- When American Graffiti was released, Universal Studios removed 5 minutes from the final print he turned in. After Star Wars was a success, he was able to convince them to put back the cut scenes.
- Though many praised and loved Star Wars: A New Hope, Lucas had gone on record saying how much of what he released, wasn’t up to his standards. When the 20th anniversary Special Edition of the film was released in 1997, he was able to add scenes in, and revamp certain effects shots, soon after saying it was closer to what he saw in his head.
- Talk of a fourth Indiana Jones film had gone on for quite some time, though George was adamant that since Indy was now in the era of the B -movies (the first three films had followed adventure serial stylings of the 1930’s), the film’s ‘idol,’ should be related to aliens (which were often a staple of 50’s B-movies). In the end, Lucas compromised with his friend Steven Spielberg, by making them “inter-dimensional beings,” that looked like aliens.
Lucas’ (Final) Passion Project
At age 71, George most assuredly realizes he’s in his twilight years. His selling of Lucasfilm to The Walt Disney Company, pretty much cut him off from having a hand in any future films related to that company’s properties.
With his adopted children off and out in the world on their own, Lucas has turned his attention to his wife and new daughter, along with getting the museum completed.
Even so, it isn’t like Lucas has hoarded his money over the years. He is one of the most well-known philanthropists in the world, often making donations to numerous arts and school programs (he and his wife have also donated $25 million to a Chicago after-school program in recent years). There was also word that much of the $4 billion he received as part of the deal with Disney regarding his company’s sale, would also be used for philanthropic purposes.
Given he has turned away from filmmaking entirely, the museum is surely intended as his swan-song.
Some have said his adamant feelings about its location are a bit selfish, but one should also consider seeing things from “a certain point-of-view.”
Architect Helmut Jahn pretty much hit the nail on the head, when he claimed in one interview, that George most likely wants to go ‘all-in’ for the project. This could explain why Lucas has been so adamant to dig his heels in, and not be swayed from certain stipulations: It’s the last major project he’ll have a hand in, and he wants to do it his way.
Of course, my mind often kept coming back to that Cultural Center meeting, where many kept wishing for the museum to enhance their specific neighborhood/community.
Many in Chicago I saw on Twitter as the lakefront battle raged, just kept throwing out all sorts of locations. Though many look at it as just a building, many never seemed to consider Lucas’ original plans in San Francisco, or what was being discussed in Chicago.
There seemed to be a pattern to the areas of interest, in that they be located near a body of water. That seemed to show that Lucas didn’t want his structure to become land-locked. It wasn’t to be like Disneyland, surrounded by hotels, residences, and restaurants. He wasn’t looking to create a Star Wars theme park or shrine to his space opera…this was a museum, and he seems to want it to be a place, that could be allowed ‘breathing room.’
There also is the consideration on how one would access the museum.
The locations Lucas chose in San Francisco and Chicago, are in prominent spots, located around parks and recreation (as well as main thoroughfares). This leads me to believe that Lucas himself was not looking at just building the museum, and walking away. After all, if you have such a great collection of art, surely you’d want to go down and see it every once in awhile.
The Presidio site would have been close to his Lucasfilm headquarters, which had moved into the new Letterman Digital Arts Center in 2005. The site he chose, would have been right across Highway 101, which he surely was familiar with.
In Chicago, word is that George and Mellody have an apartment in a prominent building on North Michigan Avenue (some have even seen George taking a meal in the food court of Water Tower Place). If the museum had gone in at the southern end of the Museum Campus, it would have been easy enough for Lucas to make a straight-shot down the street for visits.
Though there’s been no official confirmation that The Lucas Museum is dead in Chicago, Mellody Hobson’s letter pretty much seems to signify that she and her husband are done waiting to deal with the current lawsuit (which is still in its pre-trial phase).
Word came at the time of this writing, that an appeal had been filed by the mayor’s office to dismiss the lawsuit regarding the parking lot (the main spot Lucas chose), but one has to figure it’s just one last gasp in the final process of pulling the plug. The mayor’s dream would most likely be for an immediate dismissal of the lawsuit, but one could see this thing dragging on for years…many that George is not willing to wait for.
Much like the submitted US Steel site offer a little while ago, the city of Waukegan (located an hour north of Chicago), has recently said they would welcome the museum along their lake front…though one has to figure if Lucas wasn’t willing to move his museum 9 miles south of Chicago (to the steel plant site), he most likely isn’t prepared to go further north. As well, whose to say the small town doesn’t have their own non-profit group gunning to make that space “open, free, and clear?”
The building of the museum will be an endeavor that will take several years, and I’m sure George would love to see it realized before he turns 80. The Chicago proposal expected an opening in 2019, though if the third times the charm and he finds a city willing to give him a lake view, one would probably expect to now see it open in the year 2021.
Personally, I’ve pretty much given up hope that I’ll ever see the museum built here. When it was being considered for the parking lot site near Soldier Field, it felt like a decent location, with minimal issue for “taxpayer consequences.” My faith in the project wavered when the proposed “Plan B” moved it further south, and included the $1.2 billion amount that would need to take care of removing and compensating for the McCormick Place East convention structure (a plan which would require state approval, in a state whose government is currently dead-locked on a number of other financial issues). I wasn’t as over-the-moon about it as the first site, but thought I’d wait to see what would happen…though deep down, the word ‘billion’ attached to that proposal didn’t sit well (former mayor Daley had used that word a few times when it came to discussing the costs of Chicago’s attempts 10 years ago to be the Summer Olympics’ host-city for the 2016 games).
Its a pity that Chicago lost out on getting The Lucas Museum of Narrative Art. For me, I saw it as being the one shot that the city could use, to get exhibitions regarding animation and film, the likes of which have been shown in major cities like New York, Los Angeles, and Tokyo. I could easily imagine the world-touring Pixar Exhibition, or maybe even the Tim Burton Exhibition, being part of the gallery space that would house temporary exhibitions. And though some have told me online that “we already have art museums,” I can’t see them expanding their scope beyond what they currently offer.
I’m sure The Art Institute of Chicago would never dedicate space to something like exhibiting stop-motion sets and creations from the likes of Laika Entetainment, or properly give over space to the production art of the golden age of Warner Brothers cartoons. Even the chance that The Museum of Contemporary Art would consider such things, seems like a fever-dream, and The Museum of Science and Industry wouldn’t showcase such things, unless it could work in a learning segment for kids. I guess in seeing how some other exhibitions regarding cartoon and animation art have been presented in several of my visits to California, it feels like the city is sorely lacking the capacity to open up past’ the norm.’
Some online who have seen me wax poetic about my thoughts on the museum, have inquired if I’m thinking about the city, or myself. I still feel that the museum could be a benefit to a place that many amazing exhibitions bypass in favor of more world-renowned cities, or overseas venues (Chicago often feels like a second or third-tier city much of the time). Chicago keeps wanting to pride itself on being a world-class city, but I often feel when it comes to more regarding the arts, that well-roundedness is sorely missing, and often leads persons like myself and others, to travel elsewhere, to seek out those things that we often know will never be considered for the museums the city houses.
Mellody Hobson said in her letter the other day, that many kids in the area would be missing out on what the museum could offer, and I agree with her. I wanted to study animation growing up, and coming from the state of Iowa, finding a place that would seem to encourage one in that regard, was non-existent. The museum’s intent to focus on a mixture of different media arts, makes it a unique creature, and one could definitely imagine the items on display here (as well as various programs and activities), inspiring future filmmakers, many who would be eager to escape the city’s confines, and head out west (or possibly consider the local film or animation programs at Columbia College).
One of the major cities that has come up in the news, has been Oakland, CA, which is right across the bay from San Francisco, and word is, they would be willing to discuss giving the museum a lakefront placement. I personally feel George will take another look around California. He’s spent much of his life in Northern California, and if he can stay close to the Bay Area, he won’t have to go far to visit the museum.
One can imagine him maybe one day in 6 years, taking his daughter to the museum. They would be seen walking around its curved floors, admiring the illustrations by John Tenniel and Arthur Rackham. Maybe they’d sit in one of the theaters for a bit, listening as a film historian lectured about Kurosawa’s Rashomon, before heading up to the cafe at the top for a snack. As their attention turned to look out over the waters to the western horizon, the skyscrapers of San Francisco would fill George’s eyes, as he thinks about where he’s come from, and where he’s going.
I hope you’re able to find a community willing to help you make your museum a reality, George…it’s a pity Chicago wasn’t able to give you a hand.