Much of Daniels’ promoting came down to a persistent tagline – “Send a stamp to George H. Daniels.” Any soul that would send off a letter to the man in Grand Central, and enclosing a two-cent stamp – of any country, in fact – would be returned travel-related literature pertaining to their specific interests. Perhaps a businessman would get a map of global trade lines, undoubtedly featuring the fine rails of the New York Central and its connections stretching across the United States. A science-minded fellow would find descriptions and diagrams of mighty steam locomotives in use by the railroad, or the newest technology found in use on the road. And a sportsman might find a guide to fishing in upstate New York, complete with photos of the varied fish found within each body of water. Daniels and his team created a litany of brochures for just about any interest, railroad or not. For the more philosophical, there was the reprint of Elbert Hubbard’s “A Message to Garcia” – of no relation to the railroad, yet complete with a map of the line as a reference point. Certainly one of his most prolific publications, it can only be argued that after being printed by the railroad the story went “viral” – and Daniels promised to print as many copies of it as were desired, even if it took a century to do so. The story was subsequently made into two different motion pictures, sold over 40 million copies, and was translated into 37 languages, largely due to Daniels’ influence.

One of the early publications by Daniels for the Chicago & Pacific, and his photo from 1889

Born in 1842, George Henry Daniels grew up on the farms of Hampshire, Illinois, not far from the border with the territories of Wisconsin and Iowa. Daniels landed his first railroad job at the age of fifteen for the Northern Missouri Railroad, one year before that road completed its main line from St. Louis to Coatsville. Fifteen years later when that road fell into financial difficulty, Daniels made the jump to the Chicago & Pacific Railroad, as a general freight and passenger agent, landing an office in Chicago. In between those years, however, Daniels’ labor of love was contributing local news to a newspaper in Chicago. He continued his writing while in the employ of the Chicago & Pacific, using it to promote the railroad. He published a historical account of the road in 1873. He spent eight years at the Chicago & Pacific, before returning his previous railroad company, which had by then been absorbed into the Wabash, St. Louis and Pacific.

Daniels later moved on to hold positions as the commissioner of the Iowa Trunk Line Association, and further out on the frontier as the commissioner of the Colorado Traffic Association not long after that territory was granted statehood, and the Utah Traffic Association when it was still a mere territory. By 1886 hw had become the commissioner of the Central Passenger Committee, which later became the Central Traffic Association, of which he was elected vice-chairman. He then rose to the chairmanship of the Chicago Eastbound Passenger Committee, which attracted the interest of the New York Central, who offered him a position as the General Passenger Agent of the railroad in New York City.

Brochures published by Daniels during his tenure as General Passenger Agent, and the special stamp featuring the Empire State Express

Though one could hardly imagine that a single man out of an office in New York could effect the prunes of California, the apples of Oregon, or the mail from Australia, Daniels’ influence was both far and wide. Commanding both the trains of the Central and the power to spread a news story, Daniels served up prunes and apples – carrying them by freight to the east coast in conjunction with the Southern Pacific, having them served in all train dining cars, and promoting their superiority in the news. As for Australia’s mail, how exactly did a letter mailed from Australia, bound for London actually arrive in the year 1899? Using the Central’s trains to set a record, mail traveled by ship to the west coast, was transported by train to the east coast, and then sent yet again by boat to its final destination – a grand total of 32 days. In instances like these Daniels felt he was not only a promoter of the railroad, but of the entire country of the United States – showing the world the mighty steam trains and other products of American ingenuity.

Harlem Division timetables that bear the name George H. Daniels

Pull any timetable from the era printed for the New York Central, and on the bottom you’ll likely find Daniels’ name. In addition to the brochures he printed touting travel destinations, Daniels launched a full blown travel magazines from Grand Central Station, naming it the “Four-Track News” (the Central’s moniker at the time, the “Four Track System,” was coined by Daniels, highlighting its history as the world’s first four tracked railroad). That magazine operated in some capacity until 2003, under the names Travel and Travel Holiday. He also coined the name “Empire State Express” in 1890, and was tasked with promoting the Central’s newest train that made the trip from New York to Buffalo in just over six hours, making it the fastest scheduled passenger train in North America. Later on, he further promoted the Empire State Express with the locomotive 999’s 112.5 MPH speed test, specifically targeted to get people’s interest on the Central in time for The Chicago World’s Fair in 1893, where the record-breaking locomotive was placed on display. Daniels even managed to get the US Postal Service to print a commemorative stamp featuring the locomotive, one the first stamps printed in the 20th century. Arguably, however, Daniels’ most notable achievement was the concept and launch of the “20th Century Limited” – the New York Central’s most famous train.

Retiring from his position as General Passenger Agent in 1905, Daniels became the director of the New York Central’s new advertising department. He served in that capacity until 1907, when he retired permanently, living his final year split between Buffalo and Lake Placid, before passing away in 1908.

Note: Wikipedia and other sources claim that Daniels was at one time a patent medicine salesman, or that he once worked on steam boats, however his contemporary biographies, and various obituaries make no mention of this. The only sources I can find for this claim were newspaper articles written more than 50 years after Daniels’ death, of which I am interpreting as erroneous.

A collection of brochures published by Daniels during his tenure as General Passenger Agent

Construction photo of the New York Central Building. [image source]

One of the final buildings designed by Warren and Wetmore in New York City, the New York Central building became the new home of the railroad’s corporate offices. Although today we view the building as a Beaux Arts masterpiece, on par with Grand Central Terminal itself, when the building was completed in 1929 it was generally looked down upon by the architecture world. As American architecture had moved beyond the Beaux Arts style about ten years prior, critics felt the building was almost like a step backwards. Viewed as a whole, however, the New York Central building fits perfectly with its companion, Grand Central Terminal.

Postcards showing the New York Central Building

Some of the most wonderful parts of the New York Central building are the details and sculptural elements you’ll find all over, a major component of the Beaux Arts style. These elements were sculpted by Edward McCartan, Director of the sculpture department of the Beaux-Arts Institute of Design in New York City. While Warren and Wetmore frequently used the work of Sylvain Salieres, including for Grand Central Terminal, by the time the New York Central building was to be constructed, Salieres was no longer alive.

The building’s primary sculptural element is the clock that sits atop the front façade, featuring Mercury at left, and the goddess Ceres at right. Mercury is the typical deity used to represent transportation, while Ceres represents agriculture – one of many types of freight carried by the railroad. Found in various locations around the building are several other faces, whose identities never seem to be discussed. One of these faces is contorted into a painful grimace, and placed in front of a fiery torch. Perhaps this figure is representative of Prometheus of Greek myth – the titan who gave fire to man, who was punished by Zeus for the act.

Poster of the New York Central Building by Chesley Bonestell, and cover of the October 26, 1929 edition of the New Yorker with illustration by Theodore G. Haupt.

High above street level are the faces of American Bison, situated above stylized compasses, representative of how the railroads essentially built this country – or at least how it contributed to the migration of people to the west. Sharing a similar concept, a face resembling the Greek god of nature and the wild, Pan, appears towards the very top of the building. Eagles, representative of the United States, can be found above some of the doors to the building, and lions, a symbol of power can be found in the tunnel that carries Park Avenue through the building. Purely decorative columns, much derided by the architects of the day, can also be found on the upper reaches of the tower.

The New York Central Building visible from the construction site of another skyscraper

As the New York Central’s financial woes grew after World War II, the railroad began selling off some of its New York real estate. After being sold in the 1950’s, the New York Central Building became the New York General Building – a crafty idea that required only minimal changing of the signage. Eventually, the building was purchased by Helmsley-Spear, and it is rumored that Harry Helmsley’s wife Leona was the one who formally changed the building’s name to the Helmsley Building.

Perhaps the biggest travesty of the Helmsleys, besides all the tax evasion and treating their employees like dirt, was their grand idea to “update” the façade of the building. All of the architectural details on the building, including the sculptures of Mercury and Ceres, were coated with a layer of gold paint. Thankfully, during the building’s 2002 restoration, these elements were restored to their original state, without the paint. The building was sold in 1998, about a year after Harry Helmsley’s death, though it is said that Leona required a stipulation along with the sale – that the building would not be renamed. It is likely for this reason why the outside of the building still reads the Helmsley Building, while the property owners refer to it by the generic name 230 Park.

Many of the sculptural details on the building were painted gold by the Helmsleys in 1979. [image source]

The current owners have made several modifications of their own to the building – two bronze murals – weighing over a ton and comprised of 40 individual panels – depicting the streamlined 20th Century Limited have been installed in the building’s lobby in 2010. Though attractive, it would have been nicer if a more time appropriate scene was selected – the building predates the streamlined locomotive by about ten years.

Bringing the building into the “modern age,” the current owners also hired lighting designer Al Borden, who came up with a night time lighting scheme for the building. As the building is designated as a landmark, none of the lighting was permitted to “compromise the building’s architectural integrity.” Thus all light sources had to remain hidden, and none could be drilled into the building’s surface. Over 700 individual lights were added to the building, and similar to the Empire State Building, the colors can change reflecting holidays and other events.

 
A scene from the movie The Godfather was filmed in the former New York Central building. Note the portrait of William Henry Vanderbilt, and the old style #999 Empire State Express.

When constructed, the New York Central Building was one of the primary features of the New York skyline. It may not have been the tallest building, but it was certainly one of the more unique. It remained as such until the late 1950’s when it was dwarfed by the massive Pan Am Building, now known as the MetLife Building. Despite that, the building is still a symbol of New York, and has appeared numerous times in popular media. Moviegoers might recognize it as the building that appeared in the poster for 2008’s film The Dark Knight, and eagle eyed viewers may have seen some of the building’s inner rooms in the movie The Godfather.

The MetLife and Helmsley Buildings are visible from four miles away at Harlem 125th Street station.

Let’s take a photo tour of the old New York Central building, including a quick peek of the marble-covered inner lobby. Weekends in August are the best time to check out the building, as part of the city’s Summer Streets program, which closes parts of Park Avenue to cars. You’ll be given the rare opportunity to not only view the building up close and personal, but to walk the Park Avenue Viaduct, and the tunnels that travel through the old New York Central building.

 
  
 
  
   
   
  
 
   
  
   
  
  
 
   
 
  
   
 
  

The photos capture an intriguing “slice of life” on the Harlem Division – we see Hillsdale’s station agent, Elliott Hunter, and his wife Marion. We see the occasional crash and derailment that brought gawkers from all around. And we see the softer side of the Harlem, as it hosted the “Plug the Dike Train,” collecting donations for victims of the 1953 North Sea flood. In all, this is a great little set of photos… thanks again for sharing these with us, Ron!

  
 
  
  
   
  
 
  
  

Although never the most glamorous, commuters have always been an important part of Grand Central’s history. The lower level of the Terminal, which now houses the “dining concourse,” was the realm of the commuter – the “suburban concourse.” Part of the wonderful design of Grand Central was that commuters never had to mingle with the long distance riders. They had easy access to the ramps, subway, and egress to get to where they needed to go. But that wasn’t the only difference between the two types of riders – commuters were also differentiated by the type of ticket they held. Monthly commuter tickets looked quite different from regular ride tickets, and over the past one hundred years their design changed many times. Here’s a look back at some of the varied styles, and one of the favorites in my collection.

This ticket booklet, stamped with the New York Central logo contained a photo of the rider, so no one else could use it. The monthly ticket could slip inside the pouch and was visible to the conductor.

A coupon book style ticket. Little ticket coupons inside were ripped out by the conductor for each ride.

Various tickets with colored backgrounds. Similar to today’s monthly, the color changed each month, so it was easily visible to the conductor.

Similar to the colored tickets above, these tickets contained a printed and pasted on portion which listed the station information.

More modern Metro-North tickets. Today’s ticket can double as a Metro-Card.

My favorite monthly ticket – note the date that it was purchased. February 2nd, 1913 was the day Grand Central Terminal opened to the public. This type of ticket had boxes surrounding it, which the conductor clipped with each ride.

The famous 999, locomotive of the Empire State Express

Similar to the lovely etchings by the American Bank Note Company I shared with you a few weeks ago, (as well as the views of what some of the fancy railcars looked like), today’s little tour is comprised of more views of some lavish train cars, again illustrated by the American Bank Note Company. All of the images depict life on the Empire State Express in the early 1890’s, and they provide a lovely little tour of what trains were like in the golden era of railroading. So are you ready? Let’s go take a look at the Empire State Express.

The buffet car

Drawing-room car

No fancy train would be complete without a Buffet, smoking, and library car. This car featured movable easy chairs, couches, tables, a writing desk, and shelves filled with books and current newspapers. You’d also find a buffet, also stocked with with wines, liquors and cigars. At one end of the car there was even a shaving room with barber. A designated sleeping car had a saloon on one end, finished in mahogany. The plush chairs could be converted into double beds at night, with partitions for privacy. A compartment car had elegant private rooms with sliding doors, each with a lavatory, hot and cold water, and lit by a gas chandelier.

Compartment car

A Wagner Palace Sleeping Car

Not everyone could afford the fancier rooms on the train, and thus would find themself in the passenger coach. Seating a maximum of 76, the passenger coach had a bathroom at each end, one male and one female. Seats were richly upholstered with spring backs. Although not the height of elegance, compared to the private rooms on the train, the coach was still trimmed in mahogany and had large windows and gas chandeliers. On the flip side, for those well-to-do folks that had the money and weren’t afraid to flaunt it, there was also a private Wagner Palace car available. Able to accommodate 6 to 16 people, it featured a sleeping area, pantry, kitchen, and, of course, quarters for the servants.

Standard passenger coach

A Wagner Palace private car

One of the most important cars on the train was the dining car, which could serve up to 30 people at a time. It contained movable leather chairs, and there were five tables that could accommodate four people, and five more tables for couples. The kitchen contained all the newest appliances, and all meals were 1 dollar each. Finally, at the end of the train was an observation car. Similar to the drawing room car, it contained a parlor, smoking room, and bathrooms. The rear end of the car was paneled in glass, providing a lovely vantage point for the journey up the Hudson River and beyond.

The dining car

Observation car

The Empire State Express may be long gone, but the 999 engine is still “alive and well” – as anyone who has visited the Museum of Science and Industry in Chicago certainly knows. The museum is definitely one of my favorites, and I always love to visit whenever I’m in the windy city. After leaving service the 999 traveled around the country for all to get a glimpse of it – even making an appearance on the Harlem Line at Chatham. The legendary locomotive finally arrived in Chicago in 1962, and a formal ceremony was held on September 25th where New York Central president Alfred Perlman presented the 999 to museum president Lenox Lohr.

Museum president Lenox Riley Lohr accepts the donated Empire State Express 999 from New York Central president Alfred Edward Perlman. Photograph from the December 1962 edition of the New York Central Headlight.

The 999’s first move to Chicago, after it was donated by the New York Central to Chicago’s Museum of Science and Industry in 1962. [image source]

Empire State Express 999 being moved inside at the Chicago Museum of Science and Industry. After arriving in 1962 the 999 was exhibited with two other trains outside the museum until 1993. The Pioneer Zephyr was also brought inside the museum a few years later. The final of the three, the million-pound Santa Fe locomotive 2903, was donated to the Illinois Railway Museum.

When I was in Chicago a few months ago I visited my old friend the 999. The “Queen of Speed” is doing quite well, and is visited by more than 1.48 million people a year. Although she’s not pulling the fancy railcars of yesteryear, she is at least well-loved at the museum.

 
  
   

In a strange coincidence during one of those breakups, the two got into a fight outside. He threw a CD at her, but was off the mark and it flew into the neighbor’s yard. And they forgot about it. Several days later the neighbor shows up, CD in hand, returning what they must have “lost”. In the chatter that followed during this encounter, my roommate discovered that the neighbor once worked for the railroad, back when they still used steam on the Harlem Line. When my roommate told me about it, I knew I had to speak to this man. And so, one afternoon while walking the dog, I spotted him outside on the porch and said hello.

The man on the left is my neighbor, John

My neighbor certainly has an intresting viewpoint in regards to the history of the Harlem line. He witnessed the final years of steam on the line, and the trains that replaced them. He was a Fireman, while that position still existed, anyway. He told me he’d put water in the boiler in the engine in Goldens Bridge that would run to Mahopac, and then on break, would walk to his house, have a sandwich and tend to the plants in his garden. It was one of the many jobs he had over the years, including working in Chatham, Dover Plains, Brewster and Goldens Bridge. Occasional winters were spent working on the Maybrook Line in Danbury and Hopewell Junction. Besides seeing the end of steam, he witnessed the transition from the New York Central to Penn Central, Conrail, and Metro North, until finally retiring in 1991.

The above photos of his are of the Empire State Express no. 999, taken in Chatham in 1952

We always thought we’d lose the passengers. We never thought we’d lose the freight…

John motions to his wife, telling me how she hates how he always says this. It is hard for him to understand the state of matters today, shipping everything by truck. Trains were so much more efficient, he says. Watching the news every morning, the traffic reports show cameras of the traffic on every bridge going into the city, with traffic backed up for miles… and plenty of box trucks in wait. He muses about how everything has changed. Everything today is technology based…

“It was boring…” he said of being an engineer today. He turns to look at me with his weathered face, but his light blue eyes are still bright. He tells me that having good eyes was essential for working on the railroad. When starting out he had to undergo various vision tests, to have the vision to see a signal light from a mile away. To see in fog, and to see through your peripheral vision. It baffled him to see people working for Metro North, people that wore glasses. Because now, you didn’t need to see signals outside, everything was in the cab. Having perfect vision isn’t a necessity as it once was. Although hiring a more diverse workforce, in both gender and color, was a new thing, seeing the people wearing glasses seemed like it was harder to get used to for him.

He refers to himself as an “old timer” and says that most of the people he worked with weren’t really interested in his stories. I think he finds it amusing that someone is so interested in them, especially a young female. But that is hardly the first time I’ve heard that before. Some of the things he told me were not stories in their entirety, but quick smatterings of thoughts and memories. Comparing distractions of cell phones today, to people he recalled watching baseball games on portable televisions long ago. People that would throw rocks and bottles at the train, and how he once got a “face full of glass” – an event he didn’t care much to elaborate on. Stories he heard from the “old timers” of his day, of bootleggers during prohibition, and people that smuggled out Canadian ale on the trains. And when I asked about uniforms, he told me of others on cleaner trains that wore suits to work, suits with inner pockets where flasks could be hidden.

More photos from my neighbor’s collection

For 43 years my neighbor worked for the railroad, though he mentioned another family member that had a record, close to 50 years of service to the rail. His daughter and son both work for Metro North, in North White Plains, and over on the Hudson Line. Despite living next door, I don’t see the man much. He spends part of his time at a house upstate, and when he happens to be in Goldens Bridge, he often sits outside, on the porch hidden by bushes. But every time I walk by, mostly on the way to or from the train station, I look over to see if he is hidden behind those plants. Because even though our conversations have been few, they’ve always been most interesting.