SPORTS
BEAT
I HAVE OFTEN WALKED
The newest Nets by Lloyd Carroll Chronicle Contributor
The Brooklyn Nets introduced the three iconic players that they acquired in a Draft Day trade last Thursday. Kevin Garnett, Paul Pierce, and Jason Terry all dressed in similar dark suits that ref lected the Nets’ color scheme and all said the right things about wanting to win at least one last NBA championship. “Like nearly everyone else I don’t like change,” said Kevin Garnett, an eighteenyear NBA veteran when asked about having to uproot himself to a new city. He credited Paul Pierce, who had played his entire career in Boston, for convincing him to accept this new challenge rather than retire. Paul Pierce said that his first concern would be finding a place to live. The Nets complicate things for their players because while they play their home games at Brooklyn’s Barclays Center their workout facility is located in East Rutherford, a vestige from their days as the New Jersey Nets. “I will have to consult with my family and friends about schools as well as my CPA to discuss the tax implications of where I live,” he told me. Kevin Garnett was no nonsense when he was asked what it takes for a team to be a champion. “Everyone has to sacrifice. You can’t have one person taking all of the shots
HB y t l a e R
or having isolation plays (a fancy term for one-on-one basketball) drawn up for them,” he said. Nets general manager Billy King believes that the Nets will be one of the NBA’s premier teams for at least the next three years. He conceded that the criticism of the Nets striking a Faustian bargain by trading away their first-round draft picks for 2014, 2016, and 2018 for three players who are all at least 35 years old, has some merit. King told me that the Nets would not be handcuffed in future years because he believes that he’ll be able to make trades and that he knows that money is no object to his boss, Nets owner Mikhail Prokhorov, when it comes to trying a win an NBA championship. Prokhorov made a rare appearance in Brooklyn last week to welcome both his new players and his new head coach, Jason Kidd. To his immense credit, he made himself available to anyone who wanted to chat with him. Since he has long been a force in Russian politics as well as industry, I asked Prokhorov if he thought that Edward Snowden would stay in Moscow. “I don’t know what will happen with him but I am sick of the all the spy stories between the US and Russia such as Snowden and Anna Chapman. “Our countries should concentrate on sports, culture, the arts and the Q trading of goods and services.”
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In May 1919 ground was broken for a $2 million project on five acres for a movie studio that could make 20 productions simultaneously with its own laboratories, carpenter shops and projection rooms. The Famous Players-Lasky Corp. was the brainstorm of Jesse L. Lasky (1880-1958). The company officially changed the name to Paramount Studios in 1927. It was here that Lasky established the movie industry’s first acting school. The Marx Brothers, W.C. Fields, Eddie Cantor, Clara Bow, Gloria Swanson, Lillian and Dorothy Gish are only a few of the many stars who made films on these stages. In 1927 Paramount moved most of its major productions to a larger West Coast studio. Astoria Studios continued doing Paramount Newsreels, short features and unit rehearsal shows. The famous WPA play “One Third of a Nation” was turned into a movie here with Sylvia Sidney and Sidney Lumet as late as 1938. In 1942, the studio was sold to the U.S. War Department as it was then called. From
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Astoria Studios, 34-12 36 St., LIC nearing the end of construction, summer of 1920. then until 1970, the Army Signal Corps made 300 training films a year there. Some notables who made films for the Army at Astoria were Stanley Kramer, Frank Capra, Charlton Heston, Lee Marvin and George Maharis. Maharis was born and raised in Astoria himself. Declaring the studio surplus in 1970, the federal government deeded the property to The City University of New York. Originally in 1972 it restricted its use to educational purposes only. After making several WNET/13 television programs the stages went dark. In 1976, the movie industry, the City of New York and the federal government reached new agreements to reactivate the Q stages for commercial purposes.
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QUEENS CHRONICLE, Thursday, July 25, 2013 Page 54
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