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How a Brief and Inexplicable NYC Altercation Escalated to Manslaughter

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How a Brief and Inexplicable NYC Altercation Escalated to Manslaughter

Domingo Tapia and Gary Anderson crossed paths for no more than a second, two lives colliding in a moment of grainy surveillance footage.

Mr. Tapia, a 38-year-old Mexican immigrant who worked as a fruit vendor, had met his brother for a few beers on a summer evening in 2017. They had passed the time and said their goodbyes.

He turned back momentarily to retrieve a bag of fruit he had forgotten at the bar, mounted his bike and glided off toward his wife and two sons, through the quiet streets of Bedford-Stuyvesant, Brooklyn. It was 1:30 a.m.

Two blocks away, Mr. Anderson, a 26-year-old fitness trainer, was standing at Fulton Street and Albany Avenue among a group of men milling around the corner, gesticulating, apparently arguing.

Suddenly, he stalked into the crosswalk, advancing at just the moment Mr. Tapia pedaled into his path. Mr. Anderson took a step, and another, and then he exploded, launching his fist into Mr. Tapia’s face.

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Mr. Tapia’s balance failed. The bike spun out. His head smashed against the hard, dark pavement.

The two men didn’t know each other, and they never would. The punch had arrived like many crimes in New York — random, swift, a bolt out of nowhere.

Mr. Tapia was rushed to the hospital and placed in a medically induced coma, where he remained, motionless in a white room, a tangle of tubes jutting from his chest.

Mr. Anderson was arrested and indicted on several charges, including felony assault. For almost three years, he bounced among prisons in upstate New York, while Mr. Tapia’s wife, Esther Diaz, sat day after day at her husband’s bedside, praying for his limp body to stir.

Outside, seasons changed, his sons grew into teenagers, the city churned on. Nearly seven years slipped by, measured out by beeping monitors.

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Last March, the monitors went silent.

Ms. Diaz and Mr. Tapia both immigrated from Guerrero, Mexico, but they met more than 2,000 miles from home at a restaurant in Flatbush.

Ms. Diaz had been waiting on tables amid a crush of customers when Mr. Tapia walked in. They talked through the busy afternoon, the restaurant abuzz around them. A bouquet of roses arrived the following week. They found home in each other: Ms. Diaz bright and energetic at just over 5 feet tall, and Mr. Tapia her calm and gentle counterpart.

Over the next 15 years, they built a life together in Brooklyn and welcomed a son, Pedro, and then another, José.

Mr. Tapia was an attentive father, Ms. Diaz said. He rarely stayed out late, preferring to come straight home from work to spend time with their sons. The couple never married, partly because of concerns over their immigration status — both were undocumented — but they considered themselves husband and wife. They had a gentle war over the television: She liked telenovelas, he liked video games.

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On the morning of June 7, 2017, the couple got up in a hurry and rushed to ready the children for school. Ms. Diaz bathed the boys, 5 and 7, in the kitchen while Mr. Tapia showered. The apartment was a blur of activity as the children collected their bags and Mr. Tapia rushed out. The door clicked shut before she had a chance to say goodbye.

By evening, Ms. Diaz could sense that something was amiss. Mr. Tapia had not answered a text message since he left. Eight p.m. and then 9 p.m. came and went without a word, the fresh tortillas and mole she had prepared growing cold on the table.

She awoke hours later to her buzzing phone. It was Kings County Hospital.

When Ms. Diaz arrived, her husband was lying in a bed, bruises blooming across the back of his dented skull. Nurses hurried around the room, preparing him for surgery. Again and again, Ms. Diaz asked Mr. Tapia who had done this to him, but he couldn’t move his mouth. Instead, he took her arm and shook it.

He emerged from surgery hours later in a medically induced coma.

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For nearly a week, Ms. Diaz had no idea what had happened. Detectives at the hospital offered little help. Calls to the police turned up few answers. At one point, the hospital staff even barred Ms. Diaz from entering her husband’s room until she could produce documents proving their relationship, which took days to procure from Mr. Tapia’s family in Mexico.

Frantic, Ms. Diaz contacted Hispanic news outlets, batting away the nagging fear that publicizing her name could threaten her residency.

Not long after, the police called her into the precinct. There, seated at a table beside her brother-in-law, she watched, numb, as officers played a fuzzy surveillance video. There it was: her husband, a stranger and a single punch rendered in choppy pixels.

Within days, the story of the inexplicable assault was splashed across tabloid headlines, unnerving the neighborhood and seizing New Yorkers’ attention for its particular brutality. At a candlelight vigil, Eric Adams, the Brooklyn borough president and future mayor, offered to personally pay $1,000 to anyone who could help.

Mr. Anderson was arrested at the end of that month. He had been building his personal training roster, hopping from gym to gym, when someone recognized him.

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His arrest did little to calm Ms. Diaz. For weeks, the surveillance video of the punch played on every television, dragging her back to that night. On some days, she caught glimpses of Mr. Anderson roaming the neighborhood, out on bail. She would board a train car and he would be there. She would walk down the street and there he was.

In the evenings, after finishing work as a housekeeper, Ms. Diaz would trek to the hospital, traveling on foot when she couldn’t afford a MetroCard. She fed her sons dollar pizza for dinner before coaxing them to sleep at their father’s bedside in the intensive care unit.

There were unending bus rides and stacks of medical bills. The children’s grades plummeted. Pedro, the eldest, was being steadily bullied at school. Once, he got into a fight, telling her afterward that he had been defending himself so that he wouldn’t end up like his father.

Her sons deserved better, she thought. She was giving them a miserable life.

Mr. Tapia showed little improvement. He remained on a ventilator for six months, coming off life support for only two days before his body weakened again. A neighborhood activist and friend suggested that Ms. Diaz pull the plug, but she refused. She would pray for his recovery instead.

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Years went by like that, and eventually Mr. Tapia was transferred to a long-term care facility in Staten Island. He sank into a vegetative state. Ms. Diaz did her best to travel to his bedside, but time and money were in short supply and the Verrazzano-Narrows Bridge loomed between them, a barrier dividing the family from its father.

The pandemic came. Visits dwindled.

While Mr. Tapia’s family waited for him to wake, Mr. Anderson’s struggled to understand the burst of violence from a man they had known as a generous friend and doting parent.

Mr. Anderson was raised in Bed-Stuy, the youngest in his family. His half sister Shakeya Lloyd, who shares a father with him, said he had faced difficult circumstances growing up. He turned to fitness as a respite from troubles at home.

“Nobody knew of him as a troublemaker,” Ms. Lloyd said. “I’ve never even heard him raise his voice.”

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She described her brother as charitable and thoughtful from an early age, bringing bags of Christmas gifts to his grandmother’s house and organizing donation drives in the neighborhood. Mr. Anderson always had girlfriends, she said, and over the years he raised three daughters. His Instagram account is dotted with photos of the girls, wobbling on roller skates and learning to read.

By June 2017, Mr. Anderson was working as a youth coach at the local Y.M.C.A. and running his personal training business on the side. He had never been arrested. So it came as a shock when Ms. Lloyd learned that her brother had attacked a man at Fulton and Albany.

In the months that followed, lawyers, politicians and even relatives had various theories about why he had swung. Prosecutors said he had been arguing with people on the corner. Later, they added that Mr. Anderson had decided to attack someone at random. One friend called it a bad moment; most were fuzzy on the details. Ms. Lloyd said she had been disappointed.

In September 2019, Mr. Anderson pleaded guilty to felony assault and was sentenced to three years in prison as Ms. Diaz looked on from the courtroom gallery. It didn’t feel like a punishment, Ms. Diaz thought. Nothing could soothe her family’s suffering.

Mr. Anderson did time at prisons in Ulster County and Altona in upstate New York. The five-hour trip was too long for his family to make regular visits and, though he called when he could, he struggled to explain his absence to his daughters.

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In 2022, he was quietly released from prison, returning to Brooklyn. Yet again, Ms. Diaz encountered him on the street. She felt as though his eyes were on her back.

Mr. Anderson worked to rehabilitate himself, his family said. He opened a gym of his own and enmeshed himself again in his daughters’ lives. But court records tell of troubles fueled by alcohol and rage.

A few months after returning home, Mr. Anderson was arrested on charges of drunken driving and sentenced to a year of alcohol treatment.

Then in June 2024, he was charged with attempted murder, accused of shooting a gun at a man with whom he had argued at a bar. Mr. Anderson was released on bond. He attended every court date, standing behind a defense table once again.

Miles away in Staten Island, Mr. Tapia was fading away. In the months before, he had undergone two emergency surgeries, but before long his organs began to fail. On March 12, 2024, his body gave out entirely and he slipped away.

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His hospital room was empty. Ms. Diaz couldn’t bring herself to go.

It was nearly a year later and Mr. Anderson had just finished his latest virtual appearance in his attempted murder case when his phone screen lit up with a call from his lawyer.

The medical examiner had ruled Mr. Tapia’s death a homicide, the case had gone to a grand jury and Mr. Anderson, his lawyer told him, had been newly indicted on manslaughter charges.

The news washed over him all at once, said Ms. Lloyd, Mr. Anderson’s sister. He had already admitted to punching Mr. Tapia and served time in prison. But when Mr. Tapia died, that changed the nature of the crime. Under the law, the attack was now not just a punch, but a punch that had killed a man.

Mr. Anderson surrendered on the new charges on Feb. 5. Detectives picked him up at the courthouse and brought him to a precinct and then back to court again. He stood in still another courtroom, listening as prosecutors once again described that night in June 2017, the endless moment his family and Ms. Diaz’s could not escape.

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“It’s kind of wrong,” Ms. Lloyd said. Her brother had admitted his guilt and was remorseful. “How can it kind of slap you in the face?”

His lawyer, Judith Karpatkin of the Legal Aid Society, said she could not discuss the case.

Since his rearrest, Mr. Anderson, who was released on his own recognizance, has been active on Instagram, posting cryptically about the future. Last month, a neighbor in the building said he had cleared out his gym. Now it’s just a bare room under the J train tracks in Bushwick.

“I can take all the blessings I can get. I’m going through a lot,” Mr. Anderson said during a recent live video about repentance during Ramadan, which he observes.

“The past and bringing that back is very depressing,” Mr. Anderson said in the video, responding directly to a reporter’s request to talk about the case. “I felt like I did what I had to do, and now everything is coming back again.”

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He declined to speak further.

After Mr. Tapia’s death, Ms. Diaz had his body cremated. She brought his ashes home in a smooth wooden box and placed them high on a shelf at the back of a second-floor closet, where they remained, untouched, for the past year.

“Sometimes I didn’t understand how it was possible for us to survive all of these years,” Ms. Diaz said recently at her home in East Flatbush, fingering a sun-bleached photo of her husband, one of the few she has left of him.

Next month, when she returns to court for Mr. Anderson’s case, she’s hoping for just one thing. She wants to see her husband’s killer back behind bars.

“May he feel that pain,” Ms. Diaz said.

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Seven years have passed since Mr. Anderson and Mr. Tapia met on the darkened corner of Fulton and Albany. But their two families remain frozen in that deadly moment.

Mr. Anderson, now 34, is facing the possibility of returning to prison. His daughters, the eldest of whom is almost a teenager, grapple with the prospect of losing their father again.

Ms. Diaz, 41, is raising her children on her own, the box with her husband’s ashes gathering dust upstairs.

From time to time, she can hear her sons, now 14 and 13, from behind a closed door, huddled over a glowing phone screen. They watch and rewatch the grainy clip of the punch that ended their father’s life.

Kirsten Noyes contributed research.

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How a Museum Security Guard and Artist Lives on $51,000 in Parkchester

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How a Museum Security Guard and Artist Lives on ,000 in Parkchester

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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Ryan Compton knows a thing or two about gigs. To make it in New York, he has worked as a retail associate inside the Museum of Modern Art’s gift store, a cashier for a downtown taqueria and a paint mixer for Takashi Murakami. He has experienced the paradox of a city both known for its artists and for pricing artists out.

Financial constraints forced Mr. Compton, who is from South Jersey, to move away from New York twice over the course of two decades. He has lived in Baltimore, Chicago and Philadelphia, but remains convinced the resources and people inside New York are unparalleled.

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“You never know who you’re going to run into,” he said. “Everyone’s curious about each other.”

Since moving back in 2022, he has whittled down his source of income to a single gig as a security guard at the Metropolitan Museum of Art, where he made $51,000 before taxes last year. It’s his second time at the museum. He first worked there part-time in 2011 before leaving in 2015 to earn his master’s degree in sculpture from the School of the Art Institute of Chicago.

“I know I couldn’t afford graduate school and the cost of living in New York at the same time,” he said.

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A third try at New York life has forced Mr. Compton, now 46, to confront the sustainability behind a career as both an interdisciplinary artist and a security guard — even inside one of the most famous museums in the world.

Love at First Sight (With New York)

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As an undergraduate student at the Maryland Institute College of Art, Mr. Compton looked forward to spending weekends at his friend’s apartment gallery in the East Village in Manhattan.

A combination of showing face and knowing the right person led to his side project at the time — fashioning 3-d printed stuffed animals with skull faces — which were featured in an issue of Vogue Japan. He even sold a few inside a handmade craft store in Tokyo’s Ginza district for about $1,000.

“I was interested in the contrast between fuzzy-shaped animals and skulls,” he said, later adding, “You know, stuff when you’re a 20-something-year-old being kind of edgy.”

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The early moment of success propelled Mr. Compton to chase after opportunities to showcase his work. While supporting himself financially through retail and service jobs, he helped write the artist Roman Ondak’s interactive performance piece at MoMA, “Measuring the Universe;” and worked as a collaborator for “No Souls for Sale,” an experimental project temporarily at Dia Chelsea and later, the Tate Modern in London. Both went unpaid.

“The chance to work in modern art before I was 30 is unheard of,” Mr. Compton said. “It only happens in New York.”

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A Slower Pace

Tens of thousands of people flock to the Metropolitan on weekends, and it’s Mr. Compton’s job — one he has found increasingly difficult — to make sure the art is untouched. He believes social media has altered the way visitors engage with the museum. Think more selfies and poses leaned against Hellenistic marble.

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The one hour work commute from Parkchester in the East Bronx gives him time to prepare for a long day ahead. He splits a two-bedroom with a co-worker for $1,000 a month and pays $50 in utilities. Heat and water are included in his rent, and his roommate covers the cost of Wi-Fi. He pays $90 each month for his phone bill.

The slower pace of the residential neighborhood matches the stage of life he’s in now. In the last few years, Mr. Compton has slowed down as he has come to terms with the expenses behind his art.

He no longer has free access to fabrication laboratories pegged to his university, and he has opted for the more cost-friendly hobbies of zine-making and book binding. He is, however, eyeing a $1,000 3-d printer. For now, he has settled on $20 a month Photoshop subscription.

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The largest constraint tempering Mr. Compton’s spending is his $100,000 student loan debt from graduate school. The window for his deferment period closed, and even with some money he inherited after his mother passed, he says he needs a miracle to finish paying off his loans. “I’m not sure what to do anymore,” he said.

Splurging on Plants and Experimental Harsh Noise Records

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Mr. Compton may not have any children, but he is a proud “plant dad.”

His apartment houses $1,000 worth of plants sourced through Facebook groups, pop-ups and by following Brooklyn Horticulture online. He typically pays $30-$50 for medium to large sized plants, but he is constantly on the lookout for deals.

When he isn’t at home with his plants, Mr. Compton treks into Manhattan to do his weekly grocery shopping at Trader Joe’s. He prefers the prices there to local spots in the Bronx and estimates he spends $70 each week.

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A cash guzzler of Mr. Compton’s food budget is the $20 a day — an additional $80 a week — he spends at the Metropolitan’s staff cafeteria for breakfast and lunch. When working 12 hour shifts, “I’m not gonna go home and make something to bring the next day,” he said.

On his days off, he seeks out affordable food deals. He frequents Vanessa’s Dumplings in Chinatown for their $8 dumpling special.

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When in the mood to treat himself, Mr. Compton rides the train a few more stops out to Ridgewood, Queens and Bushwick, Brooklyn, to visit his favorite record stores like Fringe Records and Nexus Records. An experimental harsh noise aficionado, he spends no less than $100 each visit.

His biggest and most recent splurge was a 10-day trip to Tokyo, Kyoto and Osaka in Japan in February. He was able to cut his $900 round trip ticket to $700 with credit card points. Add in the cost of hotels, meals and souvenirs, he spent close to $5,000 total.

“I wanted to go because my artwork had been to Japan, but I haven’t been to Japan,” he said.

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Looking Ahead

Mr. Compton wants to strike a balance between saving and enjoying the life he dreamed of in New York. To help pay off his loans, he considered applying to be an art handler for the Metropolitan, a job with a slight pay bump. But without his present benefit of overtime pay, he’s afraid he would be making less than he does currently.

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Over the years, Mr. Compton has found community among other security guards at the Metropolitan, who, like him, are artists. He has also built inroads with notable names at the museum, one being Sheena Wagstaff, the former chairman of modern and contemporary art, who he said took the time to know Mr. Compton not only as a co-worker, but also as an individual, too.

Because of his connections, he feels like he has nowhere else to go. He considered a quieter lifestyle upstate in Westchester or the Catskills, but believes he will make less money outside of the city. And, of course, he would have to leave the place he’s called home for the majority of his adult years.

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“I did four other cities, and they weren’t as good or great as I like New York,” he said. “I always end up here.”

We are talking to New Yorkers about how they spend, splurge and save.

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10-Minute Challenge: The Ceiling at Grand Central

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10-Minute Challenge: The Ceiling at Grand Central

You made it time. If you want to look a little longer, just scroll back up and press “Continue.”

Look up.

Before you commute home to suburbs like Tarrytown and Larchmont, or race toward the next stop on your tourist map, take a minute.

Look up to see the stars.

One hundred and twenty-five feet above you are 2,500 stars and six signs of the zodiac along the ecliptic, a line that represents the path of the sun across the sky:

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The signs are joined by a few others: Orion, Pegasus, Triangulum and, in the center of it all, Musca Borealis (the Northern fly, or sometimes called Apis, the bee). The Milky Way streaks across the ceiling in the opposite direction. The whole thing is ringed by intricate plaster moldings along the clerestory windows. Fifty-nine of the stars twinkle.

Who says there isn’t magic in Midtown?

The original early 1900s plan for the ceiling was to build a massive skylight so commuters could look up at the actual stars:


But time and money were short, so the architects asked the artist Paul Helleu to design a version of the sky on the ceiling instead. Helleu took inspiration from star atlases from the 1600s. His main resource was the Uranometria from 1603, a lushly illustrated volume that was the first detailed cataloging of individual stars, their positions and brightness. See how similar the figures are. This is Aries:


Here’s Taurus, the bull:

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A heart balloon — one of several — had floated up the day we took this photograph, nestling between Orion’s club and Taurus’s horn (maybe an earthly sign that this heavenly hunt might finally resolve).


Converting the flat drawings of a spherical sky re-projected onto a semi-cylindrical vaulted ceiling would have been no easy task. The design work was done by a famous scenic designer and muralist, James Monroe Hewlett, and was overseen by the Columbia astronomy professor Harold Jacoby, who in 1910 assured a panicked public that Halley’s comet would not hit Earth.

Dozens of painters got to work. The terminal opened at midnight on Feb. 2, 1913. The New York Central Railroad boasted “that many school children will go to the Grand Central Terminal to study this representation of the heavens.”


Two weeks later, a commuter from New Rochelle (and a hobby astronomer) looked up at the ceiling and realized that west was east and east was west and the sky was not, actually, in a proper arrangement. Only Orion was shown in the “correct” orientation. He wrote a “wrathful” letter to the station. As The New York Times reported in 1913, officials at Grand Central “did not deny the charge that things were a bit mixed, but held that it was a pretty good ceiling for all that.”

How this happened is still a matter of debate, given Professor Jacoby’s astronomical blessing.

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Michael Allison, a former NASA planetary scientist at the Goddard Institute for Space Studies (and a former adjunct in the Columbia astronomy and astrophysics department), met me last month at the great clock under the ceiling to explain his theory.

“I’ve stared at the ceiling I don’t know how many hours,” he said. “I keep hoping I can discover one more thing.”

The liberties taken, Mr. Allison said, like re-sizing the constellations to fit the space and flipping Orion (in relation to the rest), were carefully done. Ultimately, a good marriage of art and science. He thinks Jacoby was a victim of big project bureaucracy, that it was all a mixup.

Jacoby probably expected the design he approved to be projected overhead, where the result would match the plans if you held them above you. The painters put them on the floor instead. Hence, the flip.

But this “heavenly view” — the stars as if they could be seen from above, looking down — may not be a bad view at all.

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“There are just so many bad things happening in the world now that I think the sky offers a perspective that can lift us above that,” Mr. Allison said.

For Deirdre Newman, the great-granddaughter of the muralist Hewlett, who painted the ceiling, the imperfection “is what art is.”

Ms. Newman, it turns out, is also a painter of murals and ceilings. But these days, if she has to flip an image, she just hits a button on the projector.

“Anytime I make a mistake painting, I’m like, this proves that it’s art,” she said. “It is not perfection, and it shouldn’t be — it would be a sad thing if it was.”


The stories that we’ve given to the stars over millenniums, some of the most retold tales in history, are hardly orderly — stories of fate, violence, betrayal, revenge, sex and punishment. Cancer helps Hera in pinching a rival’s foot. Orion, son of Poseidon, is placed in the stars by Zeus, locked in an eternal hunt. The two fish of Pisces (Aphrodite and Eros) are linked together to escape the monster-of-all-monsters, Typhon.

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Or the stories are totally different if you were Babylonian or Egyptian, Greek or Roman. Today, the stars mean something else again to a devoted user of the horoscope app Co-Star, seeking reassurance after a breakup. And to a commuter standing in Grand Central, looking up while waiting for the train, the stars might just be a momentary diversion, a decorative way to pass the time. Or more.

Take what you want. Take what you need.

***

By the 1940s, the ceiling had fallen into disrepair, so they painted a whole new one on four-foot-by-eight-foot asbestos sheets over the old one. This is the version that exists today. Eventually that second ceiling, too, grew dark with grime and had to be cleaned from 1996 to 1998. The difference was stark. As you were zooming in, you may have noticed a little dark square by Cancer. They deliberately left one bit of the uncleaned ceiling here:


The best time to take all of it in — the ceiling, and the majesty of the station — might just be coming this weekend. The setting sun will line up with Manhattan’s street grid and should (pending clouds) bathe the terminal in a beautiful golden glow Saturday at 8:19 p.m. and Sunday at 8:20 p.m. I plan to be on the east balcony looking west on Sunday for that moment.

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See you there.


How we took the photograph

To generate a high-resolution panorama of the ceiling, The Times captured 232 close-up images. We then used software to stitch these photos into an equirectangular projection, to approximate the curve of the ceiling. We also developed custom computer vision software to ensure consistent color blending across varying lighting conditions. To optimize for display efficiency and clarity during navigation, the image was then re-projected into the shape of a cube. We think it’s still a pretty good picture for all that.


This is an installment in our series of experiments on art and attention. If you liked this one, you may like these past exercises: a finished, unfinished portrait; a sudden rain over a bridge; a unicorn tapestry; some buckets from Home Depot; and a Whistler painting.

Sign up to be notified when new installments are published here. And let us know how this exercise made you feel in the comments.

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Metropolitan Diary Challenge Day 2: How to Write Your N.Y. Story

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Metropolitan Diary Challenge Day 2: How to Write Your N.Y. Story

Welcome to Day 2 of the Metropolitan Diary challenge, part of our celebration of the column’s 50th anniversary. On Day 1, we gave you tips for identifying your New York City story. Today, we’ll help you write it. (Missed Day 1? It’s not too late to start.)

What makes for a good Diary? It’s simply a good story that happens to be set in, and capture, the essential New York-ness of the city. While this isn’t a full writing course, we do have guidance on the kinds of elements that the submissions we publish include. They typically have: a beginning, middle and end; sharp details; catchy dialogue; a bit of surprise; some humor, warmth or emotion. But there is no formula, so flouting these loose rules can be worthwhile.

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Don’t worry if you don’t think of yourself as a “writer.” Focus on being a “storyteller.” Pretend you are telling your story to the person who’d most appreciate it, using whatever conversational language or pacing that would hold their attention. Do it out loud if you want, maybe give that person a call and tell them your story (or tell it to them again). Then write it down.

That’s the big picture. For more tips, read on.

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Here is an example of a published Diary that we (and readers) really liked, and a few thoughts on why that may help crystallize yours.

Unacceptable

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Dear Diary:

I went to a new bagel store in Brooklyn Heights1 with my son.

When it was my turn to order, I asked for a cinnamon raisin bagel with whitefish salad and a slice of red onion.2

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The man behind the counter looked up at me.

“I’m sorry,” he said. “I can’t do that.”3

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— Richie Powers

One of this item’s best qualities is that it is short and snappy. Only 53 words! Although we will use stories of up to 300 words, many don’t need to be that long and the column doesn’t work if we don’t have a mix of long, medium and short, so we are always looking for stuff like this. Here’s another one!

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A black and white illustration of a doorman holding the door for two people entering a building.

At Attention

Dear Diary:

It was December 1967. I had just finished basic training at Fort Dix in New Jersey and was traveling to Boston in uniform. For reasons I no longer recall, I stopped in New York City on the way.1

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Walking on the Upper East Side2 in a snowstorm, I spied another man in a uniform. He was older, and his cap bore the familiar gold band that identified him as an officer.

I rendered a snappy salute. It was not returned. 3The uniform was unfamiliar, so I guessed he was a foreign officer. Military courtesy still required me to salute.

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A little farther down the street, I encountered another officer and offered another salute that went unacknowledged.4 His uniform was strange to me as well.

The third time it happened, the man I saluted ignored me while holding the door for a couple 5on their way into a large apartment building.

I realized I had been saluting doormen.6

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— Stephen Salisbury

To get your storytelling muscles going, think through or jot down the answers to some of these questions.

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Let’s start with setting the scene.

  • When and where in the city did this happen? Is this place well-known?

  • Was there anything particular about that point in your life that’s relevant?

  • What did you see, hear, smell? Was there something notable about the weather?

Now, let’s move to the middle, the meat of the story.

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  • Did you have an exchange with someone?

  • What details are important to how events unfolded, especially in setting up the ending?

And now, the end.

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  • What’s the resolution? Is there a punchline?

  • Does the story end with a sense of shared humanity or some other warm feeling that lingers? You don’t need to name it. A good description will often allow readers to feel it too.

  • Why has this experience stayed with you?

  • Lines like “and that’s why I love New York” are almost always unnecessary.

That’s it. Keep your story simple and use the kind of plain language you use in conversation. You are sketching a moment in time. The details are important. Let them move the story along. Have fun and good luck.

Once you’re done, read through what you’ve got. What details are less important and can be left out? (Remember, there is a strict 300-word limit.)

Write your Metropolitan Diary however you like, on paper, on your phone or wherever! When you’re happy with what you’ve written, put your diary entry into the box below, fill out your information and submit it. You might just hear from me about including it in a future column.

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That’s it! Submit your Metropolitan Diary.

This is the official submission form, so make sure to double-check your work before hitting submit.

By transmitting your submission, you grant The New York Times Company a perpetual, royalty-free license to use the submission in any medium. They may be edited, and may be republished and adapted in all media. You may reprint your story elsewhere after it appears in The Times.

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